“Hearteningly strange . . . Collins exhumes little-known figures [and] recounts their perversely inspiring battles against the more logical ways of the world.” —The Onion Here are thirteen unforgettable portraits of forgotten people: men and women who might have claimed their share of renown but who, whether from ill timing, skullduggery, monomania, the tinge of madness, or plain bad luck—or perhaps some combination of them all—leapt straight from life into thankless obscurity. Collins brings them back to glorious life. John Banvard was an artist whose colossal panoramic canvasses (one behemoth depiction of the entire eastern shore of the Mississippi River was simply known as “The Three Mile Painting”) made him the richest and most famous artist of his day . . . before he decided to go head to head with P. T. Barnum. René Blondot was a distinguished French physicist whose celebrated discovery of a new form of radiation, called the N-Ray, went terribly awry. At the tender age of seventeen, William Henry Ireland signed “William Shakespeare” to a book and launched a short but meteoric career as a forger of undiscovered works by the Bard—until he pushed his luck too far. Collins’ love for what he calls the “forgotten ephemera of genius” give his portraits of these figures and the other ten men and women in Banvard’s Folly sympathetic depth and poignant relevance. Their effect is not to make us sneer or revel in schadenfreude; here are no cautionary tales. Rather, here are brief introductions—acts of excavation and reclamation—to people whom history may have forgotten, but whom now we cannot.

One hundred and forty years before Gerda Lerner established women’s history as a specialized field in 1972, a small group of women began to claim American Indian history as their own domain. A Field of Their Own examines nine key figures in American Indian scholarship to reveal how women came to be identified with Indian history and why they eventually claimed it as their own field. From Helen Hunt Jackson to Angie Debo, the magnitude of their research, the reach of their scholarship, the popularity of their publications, and their close identification with Indian scholarship makes their invisibility as pioneering founders of this specialized field all the more intriguing. Reclaiming this lost history, John M. Rhea looks at the cultural processes through which women were connected to Indian history and traces the genesis of their interest to the nineteenth-century push for women’s rights. In the early 1830s evangelical preachers and women’s rights proponents linked American Indians to white women’s religious and social interests. Later, pre-professional women ethnologists would claim Indians as a special political cause. Helen Hunt Jackson’s 1881 publication, A Century of Dishonor, and Alice Fletcher’s 1887 report, Indian Education and Civilization, foreshadowed the emerging history profession’s objective methodology and established a document-driven standard for later Indian histories. By the twentieth century, historians Emma Helen Blair, Louise Phelps Kellogg, and Annie Heloise Abel, in a bid to boost their professional status, established Indian history as a formal specialized field. However, enduring barriers continued to discourage American Indians from pursuing their own document-driven histories. Cultural and academic walls crumbled in 1919 when Cherokee scholar Rachel Caroline Eaton earned a Ph.D. in American history. Eaton and later Indigenous historians Anna L. Lewis and Muriel H. Wright would each play a crucial role in shaping Angie Debo’s 1940 indictment of European American settler colonialism, And Still the Waters Run. Rhea’s wide-ranging approach goes beyond existing compensatory histories to illuminate the national consequences of women’s century-long predominance over American Indian scholarship. In the process, his thoughtful study also chronicles Indigenous women’s long and ultimately successful struggle to transform the way that historians portray American Indian peoples and their pasts.

Helen Keller and her teacher, Annie Sullivan, remain two of the best-known American women. But few people know how Sullivan came to her role as teacher of the deaf and blind Keller. Contrasting their lives with Franklin Benjamin Sanborn, the era's prominent abolitionist, this book sheds light on the gender and disability expectations that affected the public perception of Sullivan and Keller. This book provides a fascinating insight into class, ethnicity, gender, and disability issues in the Gilded Age and Progressive-Era America.

This gathering of eleven original essays with a substantive introduction brings the traditional image of Emerson the Transcendentalist face-to-face with an emerging image of Emerson the reformer. The Emerson Dilemma highlights the conflict between Emerson’s philosophical attraction to solitary contemplation and the demands of activism compelled by the logic of his own writings. The essays cover Emerson’s reform thought and activism from his early career as a Unitarian minister through his reaction to the Civil War. In addition to Emerson’s antislavery position, the collection covers his complex relationship to the early women’s rights movement and American Indian removal. Individual essays also compare Emerson’s reform ethics with those of his wife, Lidian Jackson Emerson, his aunt Mary Moody, Henry David Thoreau, John Brown, and Margaret Fuller. The Emerson who emerges from this volume is one whose Transcendentalism is explicitly politicized; thus, we see him consciously mediating between the opposing forces of the world he “thought” and the world in which he lived.

Original Scholarly Monograph

With contributions from over 100 scholars, the Encyclopedia of American Poetry: The Nineteenth Centry provides essays on the careers, works, and backgrounds of more than 100 nineteenth-century poets. It also provides entries on specialized categories of twentieth-century verse such as hymns, folk ballads, spirituals, Civil War songs, and Native American poetry. Besides presenting essential factual information, each entry amounts to an in-depth critical essay, and includes a bibliography that directs readers to other works by and about a particular poet.