Having helped settlers for hundreds of years, five Native American tribes found it increasingly more difficult to relate to and trust the country that had once acted as their allies. The native peoples had fought alongside the Americans to gain freedom from England, the nation that the colonists deemed oppressive and unfair. The native peoples acted as benefactors and teachers, helping the colonists to gain an advantage against an army that was far superior to the small forces that the colonists could muster. The new country owed a lot of its existence to the native peoples, yet the settlers, who were of European descent, did not see it that way. The following topics will be covered in this book: The Early Relationship The Growth of Manifest Destiny The Discovery of Gold and the Indian Removal Act Peaceful Protests and a Push for Recognition The People Versus the President The Militia Force Removal The Trail of Tears Stories of Pain, Loss, and Love Making a New Home And a Great Deal More You Don't Want to Miss Out On! Scroll to the top and download the book now to learn more about the Trail of Tears

    Matthew Bannister said he was going to reinvent the station, the most popular in Europe. But things didn't go exactly to plan. The station lost millions of listeners. Its most famous DJs left, and their replacements proved to be disasters. Radio 1's commercial rivals regarded the internal turmoil with glee. For a while a saviour arrived, in the shape of Chris Evans. But his behaviour caused further upheavals, and his eventual departure provoked another mass desertion by listeners. What was to be done? In the middle of this crisis, Radio 1 bravely (or foolishly) allowed the writer Simon Garfield to observe its workings from the inside. For a year he was allowed unprecedented access to management meetings and to DJs in their studios, to research briefings and playlist conferences. Everyone interviewed spoke in passionate detail about their struggle to make their station credible and successful once more. The result is a gripping and often hilarious portrait a much loved national institution as it battles back from the brink of calamity.

    The countless individuals, both famous and unknown, who shaped Mexico' history come alive . . . they prosper, decline, and rise again before being extinguished by political and social upheavals beyond their control.

    Marina Abramovic: The Artist Is Present accompanies an exhibition at The Museum of Modern Art that documents approximately 50 of the artist's ephemeral time- and media-based works from throughout her career. The book also discusses a unique element of the Museum's retrospective, live performance: a new work created for the occasion, and performed by Abramovic herself; and re-creations of the artist's works by other performers-the first such to be undertaken in a museum setting. The book spans over four decades of Abramovic's early interventions and sound pieces, video works, installations, photographs, solo performances and collaborative performances made with the Dutch artist Ulay (Uwe Laysiepen). Essays by Klaus Biesenbach, Chief Curator of Media and performance art at MoMA, and four distinguished scholars examine Abramovic's ideas of time, duration and the reperformance of performance art as a way to extend it into posterity. The Artist Is Present also includes a CD with audio commentary by the artist that guides the reader through the publication. The artist is present not only in the exhibition but also in the experience of the book.Born in Belgrade just after the end of the Second World War, Marina Abramovic was raised in the Serbian Orthodox Church (her great uncle was a Patriarch and a canonized saint in the Church) and left Yugoslavia in 1976, having already established herself as a performance artist, living in Amsterdam and eventually New York, where she presently lives.

    Did nothing happen in between? Determined to find out, he embarks on a journey of rediscovery, following in the footsteps of the many Europeans who preceded the Pilgrims to America.An irresistible blend of history, myth, and misadventure, A Voyage Long and Strange captures the wonder and drama of first contact. Vikings, conquistadors, French voyageurs — these and many others roamed an unknown continent in quest of grapes, gold, converts, even a cure for syphilis. Though most failed, their remarkable exploits left an enduring mark on the land and people encountered by late-arriving English settlers.Tracing this legacy with his own epic trek — from Florida's Fountain of Youth to Plymouth's sacred Rock, from desert pueblos to subarctic sweat lodges, Tony Horwitz explores the revealing gap between what we enshrine and what we forget. Displaying his trademark talent for humor, narrative, and historical insight, A Voyage Long and Strange allows us to rediscover the New World for ourselves.

    WACK! documents and illustrates the impact of the feminist revolution on art made between 1965 and 1980, featuring pioneering and influential works by artists who came of age during that period, Chantal Akerman, Lynda Benglis, Theresa Hak Kyung Cha, Valie Export, Mary Heilmann, Sanja Ivekovic, Ana Mendieta, Annette Messager, and others, as well as important works made in those years by artists whose careers were already well established, including Louise Bourgeois, Judy Chicago, Sheila Levrant de Bretteville, Lucy Lippard, Alice Neel, and Yoko Ono.The art surveyed in WACK! includes work by more than 120 artists, in all media, from painting and sculpture to photography, film, installation, and video, arranged not by chronology but by theme: Abstraction, "Autophotography," Body as Medium, Family Stories, Gender Performance, Knowledge as Power, Making Art History, and others. WACK!, which accompanies the first international museum exhibition to showcase feminist art from this revolutionary era, contains more than 400 color images. Highlights include the figurative paintings of Joan Semmel; the performance and film collaborations of Sally Potter and Rose English; the untitled film stills of Cindy Sherman; and the large-scale, craft-based sculptures of Magdalena Abakanowicz.Written entries on each artist offer key biographical and descriptive information and accompanying essays by leading critics, art historians, and scholars offer new perspectives on feminist art practice. The topics, including the relationship between American and European feminism, feminism and New York abstraction, and mapping a global feminism, provide a broad social context for the artworks themselves. WACK! is both a definitive visual record and a long-awaited history of one of the most important artistic movements of the twentieth century.Essays by: Cornelia Butler, Judith Russi Kirshner, Catherine Lord, Marsha Meskimmon, Richard Meyer, Helen Molesworth, Peggy Phelan, Nelly Richard, Valerie Smith, Abigail Solomon-Godeau, Jenni SorkinArtists include: Marina Abramovic, Chantal Akerman, Lynda Benglis, Dara Birnbaum, Louise Bourgeois, Judy Chicago, Lygia Clark, Jay DeFeo, Mary Beth Edelson, Valie Export, Barbara Hammer, Susan Hiller, Joan Jonas, Mary Kelly, Maria Lassnig, Linda Montano, Alice Neel, Senga Nengudi, Lorraine O'Grady, Pauline Oliveros, Yoko Ono, Orlan, Howardena Pindell, Yvonne Rainer, Faith Ringgold, Ketty La Rocca, Ulrike Rosenbach, Martha Rosler, Betye Saar, Miriam Schapiro, Carolee Schneemann, Cindy Sherman, Hannah Wilke

    Yet in 1979, the Amon Carter Museum of Fort Worth, Texas, daringly commissioned him to do just that.The resulting 1985 exhibition and book, In the American West, was a milestone in American photography and Avedon's most important body of work. His unflinching portraits of oilfield and slaughterhouse workers, miners, waitresses, drifters, mental patients, teenagers, and others captured the unknown and often-ignored people who work at hard, uncelebrated jobs. Making no apologies for shattering stereotypes of the West and Westerners, Avedon said, "I'm looking for a new definition of a photographic portrait. I'm looking for people who are surprising—heartbreaking—or beautiful in a terrifying way. Beauty that might scare you to death until you acknowledge it as part of yourself."Photographer Laura Wilson worked with Avedon during the six years he was making In the American West. In Avedon at Work, she presents a unique photographic record of his creation of this masterwork—the first time a major photographer has been documented in great depth over an extended period of time. She combines images she made during the photographic sessions with entries from her journal to show Avedon's working methods, his choice of subjects, his creative process, and even his experiments and failures. Also included are a number of Avedon's finished portraits, as well as his own comments and letters from some of the subjects.Avedon at Work adds a new dimension to our understanding of one of the twentieth century's most significant series of portraits. For everyone interested in the creative process it confirms that, in Laura Wilson's words, "much as all these photographs may appear to be moments that just occurred, they are finally, in varying degrees, works of the imagination."

    It is a perfect companion to Patrick Suskind's bestseller Perfume.

    Pattie’s Personal Narrative is a prime source for the history of the Southwest during the 1820s. He, and a group of fur trappers, set out on a journey from St. Louis to California and back. After Jed Smith’s trip this journey, which began in 1824, is the second known expedition to California. This remarkable book records an eyewitness account of what the West was like before the great swathes of migration occurred. Pattie’s book fully explores the dangers of life as a trapper in the wilderness of the far west, including during one episode after Pattie and a group of French trappers were attacked and only three of them survived. Personal Narrative provides fascinating insight into the earliest clashes that were beginning to occur between citizens of the travelers from the east, Native Americans and Mexicans as United States began its great westward expansion. Yet, Pattie also demonstrates how there was great cooperation between groups, for example when he aided Mexicans, Native Americans, missionaries and settlers with smallpox vaccinations. It is essential reading for anyone interested in finding out more about the Old West and life of this fascinating American frontiersman. James O. Pattie first published his account The Personal Narrative of James O. Pattie of Kentucky in 1831 and he passed away in 1851.

    Travelling to the American West five times during the 1830s, Catlin was the first white man to depict Plains Indians in their native territory. The author spent eight years traveling among the Indians of the Northwest and the prairies, noting their customs and recording his observations with pen and brush. Catlin published his observation in a multi-volume set of books on the Indian tribes he witnessed. In "My Life Among the Indians" the parts of Catlin's volumes on the North American Indians which will be of most interest to the public have been condensed and brought together in chronological order. It is a splendid book to read and to own, being made up from two large volumes of letters written by George Catlin, the well-known painter of Indian subjects. There are sixteen illustrations from the artist's original drawings. Mr. Catlin traveled extensively in the Indian country, making a fine collection of Indian specimens which he afterwards exhibited in this country and in foreign lands. Many of these specimens, together with his paintings, which were so true to life among the Indians, are still preserved in Washington. It was Catlin who, in 1832, made the suggestion that the government should set aside a great National Park in the Yellowstone region. "Mr. Catlin's scheme, as it then took shape in his mind, and was carried out without deviation, was the formation of an Indian gallery, for which he would use his skill as a painter in securing portraits among the different tribes he would personally visit; in reproducing pictorially their customs, hunt games, and manner of living; in collecting their robes, headdresses, pipes, weapons, musical instruments, and articles of daily life; and in studying their social life, government, and religious views, that he might arrive at their own view of their relation to the world in which they lived. This world he also wished to investigate geographically and topographically. In brief, he wished to see the Indian in his native state, and, if possible, to discover his past. His future he knew. The Indian would disappear before advancing civilization. "Mr. Catlin's personal equipment for his task was a lithe, alert frame, about five feet eight inches tall, made sturdy and enduring by the outdoor life of his boyhood, a knowledge of woodcraft, a trained eye with the rifle, fine horsemanship, simple habits, a mechanical, even an inventive mind, and great steadfastness of purpose." CONTENTS Sketch Of Catlin's Life I. The Missouri River In The Thirties II. A Studio Among The Guns III. Indian Aristocrats: The Crows And Blackfeet IV. Painting An Indian Dandy V. Canoeing With Bogard And Batiste VI. Mandans: The People Of The Pheasants VII. Social Life Among The Mandans VIII. The Artist Becomes A Medicine-man IX. A Mandan Feast X. The Mandan Women XI. Mandan Dances And Games XII. O-kee-pa: A Religious Ceremony XIII. Dances Of The O-kee-pa XIV. The Making Of Braves XV. Mandan Legend Of The Deluge XVI. Corn Dance Of The Minatarees XVII. The Attack On The Canoe XVIII. The Death Of Little Bear: A Sioux Tragedy XIX. The Dances And Music Of The Sioux XX. A Dog Feast XXI. The Buffalo Chase XXII. A Prairie Fire XXIII. Songs And Dances Of The Iowas XXIV. Painting Black Hawk And His Warriors XXV. With The Army At Fort Gibson XXVI. Lassoing Wild Horses XXVII. Visiting The Camanches XXVIII. The Stolen Boy XXIX.

    Encuentra jardines donde nadie más ha sido capaz de verlos. Una historia de amor y deseo. La edición incluye caligrafías de Hassan Massoudy.At the Mogador, the city of desire, a woman, tired of her lover's insensitivity, decides to impose a challenge on him: she will make love with him only when he comes to tell her about a new garden in the city. The problem is, however, that there is none and he will not be permitted to create new ones. To discover hidden gardens he will have to tune in to his most dormant emotions.

    history, Judith Adler Hellman, a leading authority on Mexican politics, went into the homes and workplaces of a variety of Mexicans, from rich industrialists to poor street vendors. In bringing us their stories, Hellman puts a human face on the political and economic transformation currently under way in this rapidly changing country, and puts in context the rage and frustration that is feeding the current rebellion in the Mexican state of Chiapas.The Mexicans interviewed in this remarkable book share their views on an array of subjects, including pollution, the political elite, corruption, economics, and the migrant experience in the United States. Some seek collective solutions to the challenges they face; others, for a variety of interesting reasons, have no involvement with any group beyond their immediate or extended family, and rely for their well-being only on themselves and their kin.Here we meet a small subsistence farmer, eager to break into the more profitable gourmet fruit and vegetable export market; a very wealthy family pondering how best to position its company to profit from NAFTA; and a former housewife turned union organizer, who must figure out what to do with her life savings: underwrite her son’s migration to the United States, put down a payment on a new house with running water, or buy an industrial sewing machine with which to start her own business.These personal portraits, combined with Hellman’s concise and engaging presentation of recent Mexican economic and political history, make this essential reading for those concerned about Mexico and the growing global economy.

    We found a great number of books in these letters and since they contained nothing but superstitions and falsehoods of the devil we burned them all, which they took most grievously, and which gave them great pain.So writes Friar Diego de Landa in his Relación De las cosas de Yucatan of 1566, the basic book in Maya studies. Landa did all he could to wipe out Maya culture and civilization. In the famous auto da fé of July 1562 at Maní, as he tells us, he destroyed 5,000 "idols" and burned 27 hieroglyphic rolls. And yet paradoxically Landa's book, written in Spain to defend himself against charges of despotic mismanagement, is the only significant account of Yucatan done in the early post-Conquest era. As the distinguished Maya scholar William Gates states in his introduction, "ninety-nine percent of what we today know of the Mayas, we know as the result either of what Landa has told us in the pages that follow, or have learned in the use and study of what he told." Yucatan Before and After the Conquest is the first English translation of this very important work.Landa's book gives us a full account of Maya customs, daily activities, history, ceremonial festivals, and the many social and communal functions in which their life was expressed. Included here are the geography and natural history of Yucatan, the history of the Conquest, indigenous architecture and other aspects of Maya civilization (sciences, books, religion, etc.), native historical traditions, the Inquisition instituted by the Spanish clergy, Maya clothing, food, commerce, agriculture, human sacrifices, calendrical lore, and much more.

    For millions, the Galápagos Islands represent nature at its most unspoiled, an inviolate place famed for its rare flora and fauna. But soon today’s 30,000 human residents could surpass 50,000. Add invasive species, floods of tourists, and unresolved conflicts between Ecuadorian laws and local concerns, and it’s easy to see why the Galápagos were recently added to UNESCO’s World Heritage in Danger list. Each chapter in this provocative, perceptive book focuses on a specific person or group with a stake in the Galápagos’ natural resources—from tour companies whose activities are often illegal and not always green, to creationist guides who lead tours with no mention of evolution, from fishermen up in arms over lobster quotas, to modern-day pirates who poach endangered marine species. Bassett presents a perspective as readable as it is sensible. Told with wit, passion, and grace, the Galápagos story serves as a miniature model of Earth itself, a perfect example of how an environment can be destroyed-- and what is being done to preserve these islands before it's too late.

    In a small hut on the slopes of the volcano Popocateptl, scholar and poet Alvaro de Sevilla reflects on his extraordinary life. For Alvaro was one of the small army of conquistadors who, some years earlier, set out to conquer an empire. Hernando Cortes was proclaimed a reincarnation of the god Quetzacoatl shortly after his arrival in the New World, and he took advantage and forced his way to the capital city. There he met Montezuma, the Aztec Emperor, who at first welcomed the conquistadors to his city, showering them with gold. But it was an encounter between two civilizations that could only end in chaos, death, and destruction.