Provides a collection of letters, military records, journal excerpts, and other firsthand accounts documenting the fate of the Cherokee Indians after the Indian Removal Act of 1830.

This powerful narrative traces the social, cultural, and political history of the Cherokee Nation during the forty-year period after its members were forcibly removed from the southern Appalachians and resettled in what is now Oklahoma. In this master work, completed just before his death, William McLoughlin not only explains how the Cherokees rebuilt their lives and society, but also recounts their fight to govern themselves as a separate nation within the borders of the United States. Long regarded by whites as one of the 'civilized' tribes, the Cherokees had their own constitution (modeled after that of the United States), elected officials, and legal system. Once re-settled, they attempted to reestablish these institutions and continued their long struggle for self-government under their own laws--an idea that met with bitter opposition from frontier politicians, settlers, ranchers, and business leaders. After an extremely divisive fight within their own nation during the Civil War, Cherokees faced internal political conflicts as well as the destructive impact of an influx of new settlers and the expansion of the railroad. McLoughlin brings the story up to 1880, when the nation's fight for the right to govern itself ended in defeat at the hands of Congress.

It is June first and twelve-year-old Mary does not really understand what is happening: she does not understand the hatred and greed of the white men who are forcing her Cherokee family out of their home in New Echota, Georgia, capital of the Cherokee Nation, and trying to steal what few things they are allowed to take with them, she does not understand why a soldier killed her grandfather--and she certainly does not understand how she, her sister, and her mother, are going to survive the 1000 mile trip to the lands west of the Mississippi.

The Indian Removal Act promised Native Americans money and supplies to move west to an area called Indian Territory. The government said the Native Americans could live there forever. That promise was broken in the late 1800s. Find out more in The Indian Removal Act and the Trail of Tears, a title in the Building Our Nation series. Building Our Nation is a series of AV2 media enhanced books. A unique book code printed on page 2 unlocks multimedia content. These books come alive with video, audio, weblinks, slideshows, activities, hands-on experiments, and much more.

King's insightful and informative text discusses the six major routes of the Trail of Tears and the 17 Cherokee detachments that were pushed westward into Oklahoma. Fitzgerald's touching and memorable photos show all the major landmarks of the trail in nine states, as they appear today.

Set against the tragic events of the Cherokees' removal from their traditional lands in North Carolina to Indian Territory between 1835-1838, Mountain Windsong is a love story that brings to life the suffering and endurance of the Cherokee people. It is the moving tale of Waguli (Whippoorwill") and Oconeechee, a young Cherokee man and woman separated by the Trail of Tears. Just as they are about to be married, Waguli is captured be federal soldiers and, along with thousands of other Cherokees, taken west, on foot and then by steamboat, to what is now eastern Oklahoma. Though many die along the way, Waguli survives, drowning his shame and sorrow in alcohol. Oconeechee, among the few Cherokees who remain behind, hidden in the mountains, embarks on a courageous search for Waguli. Robert J. Conley makes use of song, legend, and historical documents to weave the rich texture of the story, which is told through several, sometimes contradictory, voices. The traditional narrative of the Trail of Tears is told to a young contemporary Cherokee boy by his grandfather, presented in bits and pieces as they go about their everyday chores in rural North Carolina. The telling is neiter bitter nor hostile; it is sympathetic by unsentimental. An ironic third point of view, detached and often adversarial, is provided by the historical documents interspersed through the novel, from the text of the removal treaty to Ralph Waldo Emerson's letter to the president of the United States in protest of the removal. In this layering of contradictory elements, Conley implies questions about the relationships between history and legend, storytelling and myth-making. Inspired by the lyrics of Don Grooms's song "Whippoorwill," which open many chapters in the text, Conley has written a novel both meticulously accurate and deeply moving.

Forcibly removed from their homes in the late 1830s, Cherokee, Creek, Choctaw, and Chickasaw Indians brought their African-descended slaves with them along the Trail of Tears and resettled in Indian Territory, present-day Oklahoma. Celia E. Naylor vividly charts the experiences of enslaved and free African Cherokees from the Trail of Tears to Oklahoma's entry into the Union in 1907. Carefully extracting the voices of former slaves from interviews and mining a range of sources in Oklahoma, she creates an engaging narrative of the composite lives of African Cherokees. Naylor explores how slaves connected with Indian communities not only through Indian customs--language, clothing, and food--but also through bonds of kinship. Examining this intricate and emotionally charged history, Naylor demonstrates that the "red over black" relationship was no more benign than "white over black." She presents new angles to traditional understandings of slave resistance and counters previous romanticized ideas of slavery in the Cherokee Nation. She also challenges contemporary racial and cultural conceptions of African-descended people in the United States. Naylor reveals how black Cherokee identities evolved reflecting complex notions about race, culture, "blood," kinship, and nationality. Indeed, Cherokee freedpeople's struggle for recognition and equal rights that began in the nineteenth century continues even today in Oklahoma.