In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government’s Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World’s Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation. Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.

The leaders of anticolonial wars of resistance--Metacom, Pontiac, Tecumseh, and Cuauhtemoc--spread fear across the frontiers of North America. Yet once defeated, these men became iconic martyrs for postcolonial national identity in Canada, the United States, and Mexico. By the early 1800s a craze arose for Indian tragedy on the U.S. stage, such as John Augustus Stone's Metamora, and for Indian biographies as national historiography, such as the writings of Benjamin Drake, Francis Parkman, and William Apess. With chapters on seven major resistance struggles, including the Pueblo Revolt of 1680 and the Natchez Massacre of 1729, The Indian Chief as Tragic Hero offers an analysis of not only the tragedies and epics written about these leaders, but also their own speeches and strategies, as recorded in archival sources and narratives by adversaries including Hernan Cortes, Antoine-Simon Le Page du Pratz, Joseph Doddridge, Robert Rogers, and William Henry Harrison. Sayre concludes that these tragedies and epics about Native resistance laid the foundation for revolutionary culture and historiography in the three modern nations of North America, and that, at odds with the trope of the complaisant "vanishing Indian," these leaders presented colonizers with a cathartic reproof of past injustices.

American Art to 1900 presents an astonishing variety of unknown, little-known, or undervalued documents to convey the story of American art through the many voices of its contemporary practitioners, consumers, and commentators. The volume highlights such critically important themes as women artists, African American representation and expression, regional and itinerant artists, Native Americans and the frontier, and more. With its hundreds of explanatory headnotes, this book reveals the documentary riches of American art and its many intersecting histories. -back cover.

What happens when a distant colonial power tries to tame an unfamiliar terrain in the world's largest tidal delta? This history of dramatic ecological changes in the Bengal Delta from 1760 to 1920 involves land, water and humans, tracing the stories and struggles that link them together. Pushing beyond narratives of environmental decline, Bhattacharyya argues that 'property-thinking', a governing tool critical in making land and water discrete categories of bureaucratic and legal management, was at the heart of colonial urbanization and the technologies behind the draining of Calcutta. The story of ecological change is narrated alongside emergent practices of land speculation and transformation in colonial law. Bhattacharyya demonstrates how this history continues to shape our built environments with devastating consequences, as shown in the Bay of Bengal's receding coastline.

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.

The epic clash of an Irish-American, Italian, and Onondaga-Canadian that jump-started the first marathon mania and heralded the modern age in sports The eyes of the world watched as three runners—dirt poor Johnny Hayes, who used to run barefoot through the streets of New York City; candymaker Dorando Pietri; and the famed Tom Longboat—converged for an epic battle at the 1908 London Olympics. The incredible finish was contested the world over when Pietri, who initially ran the wrong way upon entering the stadium at Shepherd's Bush, finished first but was disqualified for receiving aid from officials after collapsing just shy of the finish line, thus giving the title to runner-up Hayes. In the midst of anti-American sentiment, Queen Alexandra awarded a special cup to Pietri, who became an international celebrity and inspired one of Irving Berlin's first songs. In Showdown at Shepherd's Bush, David Davis recalls a time when runners braved injurious roads with slips of leather for shoes and when marathon mania became a worldwide obsession. Standing next to Cait Murphy's Crazy '08 as an invaluable look at a bygone sporting era, Showdown at Shepherd's Bush is a dramatic narrative aimed at the recordsetting number of marathon participants in the United States (more than 500,000 in 2010!) and other running enthusiasts, and timed nicely for the return of the Olympics to London in 2012.

In the early twentieth century, Native American baskets, blankets, and bowls could be purchased from department stores, “Indian stores,” dealers, and the U.S. government's Indian schools. Men and women across the United States indulged in a widespread passion for collecting Native American art, which they displayed in domestic nooks called “Indian corners.” Elizabeth Hutchinson identifies this collecting as part of a larger “Indian craze” and links it to other activities such as the inclusion of Native American artifacts in art exhibitions sponsored by museums, arts and crafts societies, and World's Fairs, and the use of indigenous handicrafts as models for non-Native artists exploring formal abstraction and emerging notions of artistic subjectivity. She argues that the Indian craze convinced policymakers that art was an aspect of “traditional” Native culture worth preserving, an attitude that continues to influence popular attitudes and federal legislation.Illustrating her argument with images culled from late-nineteenth- and early-twentieth-century publications, Hutchinson revises the standard history of the mainstream interest in Native American material culture as “art.” While many locate the development of this cross-cultural interest in the Southwest after the First World War, Hutchinson reveals that it began earlier and spread across the nation from west to east and from reservation to metropolis. She demonstrates that artists, teachers, and critics associated with the development of American modernism, including Arthur Wesley Dow and Gertrude Käsebier, were inspired by Native art. Native artists were also able to achieve some recognition as modern artists, as Hutchinson shows through her discussion of the Winnebago painter and educator Angel DeCora. By taking a transcultural approach, Hutchinson transforms our understanding of the role of Native Americans in modernist culture.