My great-grandfather, Brigadier General Anson Mills, engaged in battle with the Sioux and Cheyenne Indians in South Dakota in the 1800s. He led the battle against the Native people at the Battle of Slim Buttes in Montana. War trophies, considered sacred objects by the Indians, included a beautiful beaded clothing, a war bonnet with buffalo horns, and a blanket strip. They were only a few of the pieces I grew up with. They hung on the walls of my parents' home. I remember as a child that I would physically cringe and contract around them. I did not know why, but I felt pain and heard them speak, "I am in pain. I want to go home." In the early 1970s, I met the sacred Hat Carrier and other Cheyenne native people. I returned the beautiful articles, which were placed in the Jim Gatchell Museum in Buffalo, Wyoming. There are many stories told about European experiences when they landed. Most stories idealize the experience of white males. There are many other stories to be told. This is one of them.

My great-grandfather, Brigadier General Anson Mills, engaged in battle with the Sioux and Cheyenne Indians in South Dakota in the 1800s. He led the battle against the Native people at the Battle of Slim Buttes in Montana. War trophies, considered sacred objects by the Indians, included a beautiful beaded clothing, a war bonnet with buffalo horns, and a blanket strip. They were only a few of the pieces I grew up with. They hung on the walls of my parents' home. I remember as a child that I would physically cringe and contract around them. I did not know why, but I felt pain and heard them speak, "I am in pain. I want to go home." In the early 1970s, I met the sacred Hat Carrier and other Cheyenne native people. I returned the beautiful articles, which were placed in the Jim Gatchell Museum in Buffalo, Wyoming.There are many stories told about European experiences when they landed. Most stories idealize the experience of white males. There are many other stories to be told. This is one of them.

" Killing Ground is a significant contribution, a new way of looking at highly familiar images."—Shelby Foote "These haunting photographs of then and now offer a new and powerful perspective on the tragedies and triumphs—above all, the human cost—of the Civil War. John Huddleston's photographs of selected spots on dozens of battlefields of that war, juxtaposed with photographs of soldiers killed or wounded there and other contemporary illustrations, make telling points in a unique manner. This book does more than prove the old adage that a picture is worth a thousand words; it tells the poignant story of the Civil War in a way that goes beyond words."—James McPherson " Killing Ground situates us uncomfortably in a terrain where living memory has only recently completed its transformation into history. John Huddleston has photographed the scenes of this vast communal hurt, from the mightiest battles to obscure actions involving a few combatants; in every instance he asks the land itself to yield up what traces it may hold of the mortal issues contested there. Suburban intersection, brushy tangle, murky pool, well-tended battle park—all are joined by a commonality that Huddleston insists we not forget: Americans died here, killed by other Americans."—Frank Gohlke In Killing Ground, John Huddleston embarks on a photographic odyssey through the modern-day landscape of the Civil War. He pairs historical images of the conflict from sixty-two battle sites across the nation—battlefield scenes, soldiers living and dead, prisoners of war, civilians, and slaves—with his own color photographs of the same locations a century and a half later, always taken at the same time of year, often at the same hour of the day. Sometimes Huddleston's lens reveals a department store or fast-food restaurant carelessly built on hallowed ground; other images depict overgrown fields or well-manicured parks. When contrasted with their mid-nineteenth-century counterparts, these indelible images challenge the meaning of place in American culture and the evolving legacy of the Civil War in our national memory.

This sweeping work traces the idea of race for more than three centuries to show that 'race' is not a product of science but a cultural invention that has been used variously and opportunistically since the eighteenth century. Updated throughout, the fourth edition of this renowned text includes a compelling new chapter on the health impacts of the racial worldview, as well as a thoroughly rewritten chapter that explores the election of Barack Obama and its implications for the meaning of race in America and the future of our racial ideology.

When ex-cop Katie Kelly returns to the scene of a shocking crime from 30 years ago, she finds herself drawn into dealing with new crimes involving the kidnapping of a child and the possible murder of two children by their mother.

National Book Award winner James McBride goes in search of the real James Brownand his surprising journey illuminates not only our understanding of the Godfather of Soul but the ways in which our cultural heritage has been shaped by Browns legacy.