During the nineteenth century, white Americans sought the cultural transformation and physical displacement of Native people. Though this process was certainly a clash of rival economic systems and racial ideologies, it was also a profound spiritual struggle. The fight over Indian Country sparked religious crises among both Natives and Americans. In The Gods of Indian Country, Jennifer Graber tells the story of the Kiowa Indians during Anglo-Americans' hundred-year effort to seize their homeland. Like Native people across the American West, Kiowas had known struggle and dislocation before. But the forces bearing down on them-soldiers, missionaries, and government officials-were unrelenting. With pressure mounting, Kiowas adapted their ritual practices in the hope that they could use sacred power to save their lands and community. Against the Kiowas stood Protestant and Catholic leaders, missionaries, and reformers who hoped to remake Indian Country. These activists saw themselves as the Indians' friends, teachers, and protectors. They also asserted the primacy of white Christian civilization and the need to transform the spiritual and material lives of Native people. When Kiowas and other Native people resisted their designs, these Christians supported policies that broke treaties and appropriated Indian lands. They argued that the gifts bestowed by Christianity and civilization outweighed the pains that accompanied the denial of freedoms, the destruction of communities, and the theft of resources. In order to secure Indian Country and control indigenous populations, Christian activists sanctified the economic and racial hierarchies of their day. The Gods of Indian Country tells a complex, fascinating-and ultimately heartbreaking-tale of the struggle for the American West.

During the nineteenth century, Anglo-Americans inflicted cultural and economic devastation on Native people. The fight over Indian Country sparked spiritual crises for both Natives and Settlers. In the end, the experience of intercultural encounter and conflict over land produced religious transformations on both sides.

The mythology of "gifted land" is strong in the National Park Service, but some of our greatest parks were "gifted" by people who had little if any choice in the matter. Places like the Grand Canyon's south rim and Glacier had to be bought, finagled, borrowed--or taken by force--when Indian occupants and owners resisted the call to contribute to the public welfare. The story of national parks and Indians is, depending on perspective, a costly triumph of the public interest, or a bitter betrayal of America's native people. "Combining highly charged prose and convincing evidence...this superb book constitutes a moving account of [tribal] defeats and victories." -Choice "It's not just Indians who need to heed the lessons of this book and the ultimate illusion of ownership." -Christian Science Monitor "A great asset to the literature on the relations between Indian people and the National Park Service." -American Indian Culture and Research Journal

The lands the United States claims sovereignty over by right of the Doctrine of Discovery are home to more than five hundred Indian nations, each with its own distinct culture, religion, language, and history. Yet these Indians, and federal Indian law, rarely factor into the decisions of the country’s governing class—as recent battles over national monuments on tribal sites have made painfully clear. A much-needed intervention, Many Nations under Many Gods brings to light the invisible histories of several Indian nations, as well as their struggles to protect the integrity of sacred and cultural sites located on federal public lands. Todd Allin Morman focuses on the history of Indian peoples engaging in consultation, a process mandated by the National Environmental Policy Act and the Indian Religious Freedom Act whenever a federal agency’s proposed action will affect land of significance to indigenous peoples. To understand this process and its various outcomes first requires familiarity with the history and culture that make these sites significant to particular Indian nations. Morman provides this necessary context for various and changing indigenous perspectives in the legal process. He also examines consultation itself in a series of case studies, including Hopi efforts to preserve the sacred San Francisco Peaks in the Coconino National Forest from further encroachment by a ski resort, the Washoes’ effort near Lake Tahoe to protect Cave Rock from an influx of rock climbers, the Forest Service’s plan for the Blackfeet site Badger-Two Medicine, and religious freedom cases involving the Makahs, the Quechans, the Western Apaches, and the Standing Rock Sioux. These cases illuminate the strengths and dangers inherent in the consultation process. They also illustrate the need, for Natives and non-Natives alike, to learn the history of North America in order understand the value of protecting the many cultural and sacred sites of its many indigenous peoples. Many Nations under Many Gods reveals—and works to meet—the urgency of this undertaking.

The definitive account of the Ghost Dance religion, which led to the infamous massacre at Wounded Knee in 1890 Winner of the Bancroft Prize in American History In 1890, on Indian reservations across the West, followers of a new religion danced in circles until they collapsed into trances. In an attempt to suppress this new faith, the US Army killed over two hundred Lakota Sioux at Wounded Knee Creek. In God's Red Son, historian Louis Warren offers a startling new view of the religion known as the Ghost Dance, from its origins in the visions of a Northern Paiute named Wovoka to the tragedy in South Dakota. To this day, the Ghost Dance remains widely mischaracterized as a primitive and failed effort by Indian militants to resist American conquest and return to traditional ways. In fact, followers of the Ghost Dance sought to thrive in modern America by working for wages, farming the land, and educating their children, tenets that helped the religion endure for decades after Wounded Knee. God's Red Son powerfully reveals how Ghost Dance teachings helped Indians retain their identity and reshape the modern world.

As Mother India approaches her centenary, nine people are going about their business — a gangster, a cop, his wife, a politician, a stand-up comic, a set designer, a journalist, a scientist, and a dropout. And so is Aj — the waif, the mind-reader, the prophet — when she one day finds a man who wants to stay hidden. In the next few weeks, they will all be swept together to decide the fate of the nation. River of Gods teems with the life of a country choked with peoples and cultures — one and a half billion people, twelve semi-independent nations, nine million gods. Ian McDonald has written the great Indian novel of the new millennium, in which a war is fought, a love betrayed, a message from a different world decoded, as the great river Ganges flows on.

Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, “Mother India,” the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country’s diverse communities. Soon after Mother India’s emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India’s appearance in painting, print, poster art, and pictures from the late nineteenth century to the present. By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it. In The Goddess and the Nation, she teaches us about pictorial ways of learning the form of the nation, of how to live with it—and ultimately to die for it.