Afterward he lived in New York, the city of choice for political exiles, and eventually arrived in Washington, D.C., at the newly minted National Museum of the American Indian (“a bad idea whose time has come”) as a curator. In his journey from fighting activist to federal employee, Smith tells us he has discovered at least two things: there is no one true representation of the American Indian experience, and even the best of intentions sometimes ends in catastrophe. Everything You Know about Indians Is Wrong is a highly entertaining and, at times, searing critique of the deeply disputed role of American Indians in the United States. In “A Place Called Irony,” Smith whizzes through his early life, showing us the ironic pop culture signposts that marked this Native American’s coming of age in suburbia: “We would order Chinese food and slap a favorite video into the machine—the Grammy Awards or a Reagan press conference—and argue about Cyndi Lauper or who should coach the Knicks.” In “Lost in Translation,” Smith explores why American Indians are so often misunderstood and misrepresented in today’s media: “We’re lousy television.” In “Every Picture Tells a Story,” Smith remembers his Comanche grandfather as he muses on the images of American Indians as “a half-remembered presence, both comforting and dangerous, lurking just below the surface.” Smith walks this tightrope between comforting and dangerous, offering unrepentant skepticism and, ultimately, empathy. “This book is called Everything You Know about Indians Is Wrong, but it’s a book title, folks, not to be taken literally. Of course I don’t mean everything, just most things. And ‘you’ really means we, as in all of us.”

    Introducing art in its international context, this accessible book explores core issues about how art is made, interpreted, and displayed, without any of the unnecessary terminology. Divided into themes, A Short Book About Art presents new ways of thinking about the relationship between artists and their work, as well as fresh comparisons between works of art from different periods and places. Thought-provoking and stimulating, it is the ideal companion for anyone who wants to learn about art without a dictionary in their hands.

    . . from Plymouth Rock to Pearl Harbor-the history of America in bite-size chunks How did the conquistadors first stumble across America-and what were the Spanish looking for anyway? What was the Dred Scott Supreme Court case and how did it affect the Civil War? And while some of us may indeed remember the Alamo, why were we once urged to "Remember the Maine"? Here, in chronological order, is a rollicking tour of American history from Columbus's arrival through Nixon's resignation, including details about the early colonists, Manifest Destiny, the Civil War-from Southern secession to the surrender at Appomattox-and the nation's plunge into World War I and the end of U.S. isolationism. It's the perfect refresher for all the things we learned in school but may have forgotten since. In concise, highly readable chapters, Remember the Alamo!""tells the most exciting story in the world: the story of America-home of Ben Franklin and Al Capone, Abe Lincoln and Rosa Parks, a nation with a passion and a gift for making history to this day.

    The Hopis have kept this view a secret for countless generations, and this book was made possible only as a result of their desire to record for future generations the principles of their "Road of Life." The breaking of the Hopi silence is significant and fascinating because for the first time anthropologists, ethnologists, and everyone interested in the field of Indian study have been given rich material showing the Hopi legends, the meaning of their religious rituals and ceremonies, and the beauty of a conception of life within the natural world that is completely untouched by materialistic worlds."Only a person as deeply steeped in Hopi mysticism as the Hopis themselves could have produced this volume. Mr. Waters and Mr. Fredericks have approached the task of combining Hopi art, history, tradition, myth, folklore, and ceremonialism with dignity and authority.... Deserves to be part of the library of any student of the American Southwest."—American Anthropologist

    The Samurai spirit, Bushido, is an integral component of Japanese tattooing that is traced through the imagery and interpersonal dynamics of this veiled subculture. The eloquent text is based largely on Takahiro Kitamura's experiences as client and student of the famed Japanese tattoo master, Horiyoshi III. Over 200 beautiful photos by Jai Tanju capture the breathtaking tattoo artistry of Horiyoshi III. Five original, unpublished prints by Horiyoshi III, like those in his acclaimed book, 100 Demons of Horiyoshi III, are included here. Bushido: Legacies of the Japanese Tattoo is certain to fascinate everyone with an interest in tattoo culture.

    The Drive-By Truckers, as they named themselves, grew into one of the best and most consequential rock bands of the twenty-first century, a great live act whose songs deliver the truth and nuance rarely bestowed on Southerners, so often reduced to stereotypes.Where the Devil Don’t Stay tells the band’s unlikely story not chronologically but geographically. Seeing the Truckers’ albums as roadmaps through a landscape that is half-real, half-imagined, their fellow Southerner Stephen Deusner travels to the places the band’s members have lived in and written about. Tracking the band from Muscle Shoals, Alabama, to Richmond, Virginia, to the author’s hometown in McNairy County, Tennessee, Deusner explores the Truckers’ complex relationship to the South and the issues of class, race, history, and religion that run through their music. Drawing on new interviews with past and present band members, including Jason Isbell, Where the Devil Don’t Stay is more than the story of a great American band; it’s a reflection on the power of music and how it can frame and shape a larger culture.

    For more than forty years, Theodora Kroeber's biography has captivated readers. Now recent advances in technology make it possible to return to print the 1976 deluxe edition, filled with plates and historic photographs that enhance Ishi's story and bring it to life.Ishi stumbled into the twentieth century on the morning of August 29, 1911, when, desperate with hunger and terrified of the white murderers of his family, he was found in the corral of a slaughter house near Oroville, California. Finally identified as a Yahi by an anthropologist, Ishi was brought to San Francisco by Professor T. T. Waterman and lived there the rest of his life under the care and protection of Alfred Kroeber and the staff of the University of California's Museum of Anthropology.Karl Kroeber adds an informative tribute to the text, describing how the book came to be written and how Theodora Kroeber's approach to the project was a product of both her era and her special personal insight and empathy.

    In simple but vivid detail, Velma Wallis depicts a landscape and way of life that are at once merciless and starkly beautiful. In her old women, she has created two heroines of steely determination whose story of betrayal, friendship, community and forgiveness "speaks straight to the heart with clarity, sweetness and wisdom" (Ursula K. Le Guin).

     Through they course of the nineteenth century they became involved in some of the bloodiest conflicts to occur in the heart of the American continent. They were swift in the adoption of horse culture and quickly became skilled and powerful mounted warriors. Men would gain rank within their society by performing and accumulating various acts of bravery in battle, known as coups. George Bird Grinnell charts the development of the Cheyenne people through the course of the nineteenth century and how they were forced to become increasingly militaristic, both with other tribes and the ever-encroaching United States government, in order to protect themselves and their culture. Although Grinnell states that “This book deals with the wars of the Cheyennes”, he spends a great deal of time explaining their culture more deeply to provide a more complete picture of this fascinating tribe. Rather than simply relying on the words of various United States troops who had fought the Cheyennes at various encounters such as Washita River and Little Bighorn, Grinnell interviews many aging Native Americans to allow them to tell their own stories in their own ways. “Mr. Grinnell has always shown a deep personal feeling for the Indian of the Plains, in contrast to the mere professional attitude of many anthropologists. This is particularly true in the present work.” Clark Wissler, American Anthropologist “The principal events in Cheyenne history … are sketched in interesting fashion, chiefly from Indian reminiscence, with occasional reference to other sources of information. … we get the Indian viewpoint and incidentally much valuable light upon Indian belief and custom.” James Mooney, The American Historical Review “In his books… Mr. George Bird Grinnell has portrayed [the Native Americans] with a master hand; it is hard to see how his work can be bettered.” Theodore Roosevelt This book is essential reading for anyone interested in Native American history and one of the most famous tribes to have lived on the Great Plains. George Bird Grinnell was an American anthropologist, historian, naturalist, and writer. Grinnell wrote many of the first articles dealing with conservation, the protection of the buffalo, and the American West. His book The Fighting Cheyennes was first published in 1915 and he passed away in 1938.

    Those ex-slaves were in their declining years by the time of the Great Depression, but Elizabeth Sparks, Elige Davison, and others like them nonetheless provided a priceless record of life under the yoke: where slaves lived, how they were treated, what they ate, how they worked, how they adjusted to freedom. Here, Belinda Hurmence presents the interviews of 21 former Virginia slaves. This is a companion volume to Hurmence's popular collections of North Carolina and South Carolina slave narratives, My Folks Don't Want Me to Talk About Slaveryand Before Freedom, When I Just Can Remember.

    Spectacular tomb discoveries at the city of Copan reveal some of the early artistic and architectural splendours at this major site. New finds here and elsewhere entail a complete reinterpretation of the relationship between the warrior-kings of the classic Maya lowlands and Teotihuacan, the greatest city of pre-Conquest America. Continuing epigraphic breakthroughs - decipherments of Maya inscriptions - demonstrate vividly the shifting power blocs among the competing Maya city-states.

    

    Mann radically alters our understanding of the Americas before the arrival of Columbus in 1492.Contrary to what so many Americans learn in school, the pre-Columbian Indians were not sparsely settled in a pristine wilderness; rather, there were huge numbers of Indians who actively molded and influenced the land around them. The astonishing Aztec capital of Tenochtitlan had running water and immaculately clean streets, and was larger than any contemporary European city. Mexican cultures created corn in a specialized breeding process that it has been called man’s first feat of genetic engineering. Indeed, Indians were not living lightly on the land but were landscaping and manipulating their world in ways that we are only now beginning to understand. Challenging and surprising, this a transformative new look at a rich and fascinating world we only thought we knew.

    In the process, King refashions old stories about historical events and figures, takes a sideways look at film and pop culture, relates his own complex experiences with activism, and articulates a deep and revolutionary understanding of the cumulative effects of ever-shifting laws and treaties on Native peoples and lands.This is a book both timeless and timely, burnished with anger but tempered by wit, and ultimately a hard-won offering of hope—a sometimes inconvenient, but nonetheless indispensable account for all of us, Indian and non-Indian alike, seeking to understand how we might tell a new story for the future.

    In Walking on the Land, he returns to write about the Arctic for the first time in two decades. Using a seminal trip he took through the eastern Arctic as his starting point, Mowat interweaves the stories and the fate of the Barrenground Inuit who were his friends with stunning, lyrical description of the land that was their traditional homeland. With great beauty and terrible anguish, Mowat traces the history of the Barrenground Inuit, revealing how the decimation of the caribou herds in the early part of the century, unleashed a series of famines and epidemics that virtually wiped out their population and left them reliant on a far-away government that understood too little of their needs and circumstances. Through his continued friendship with the survivors, Mowat brings us into the present, showing how the remnant population has survived. No Mowat work is complete without a cast of larger-than-life characters and his trademark marvellous storytelling. Walking on the Land is no exception. Old-time Hudson`s Bay company men, eccentric priests, wild bush pilots and well-meaning interlopers people the pages, bringing to life one of Canada`s most haunted places.