Customer Reviews:
Thorough Book of the Idea of the West.......2003-05-15
While I had to use this book for a class I particularly wasn't interested in - Western and Cowboy Art - with this book, I have actually began to appreciate its contents for what they are. The book has some amazing paintings and sculptures included as well as details about the artists and information about the art included within the book as well as some other art by the artists. It has a good sampling of Western art from George Caleb Bingham to Frederick Remington and has a wide variety each artists work so the reader can get a good idea of how the artist worked and what sorts of pictures they favored. I only gave it 4 stars because of the subject matter, but all in all, a very good book.
The role of artists in mythologizing the West.......2002-08-16
As of this writing (Aug. 2002) this fine book is out of print, and shouldn't be. It is an informative and well illustrated survey covering almost 200 years of pictorial representations of the American frontier.
Because of my interest in the mythology that developed around the cowboy, I found the chapters on Frederic Remington, Charley Russell, and Buffalo Bill Cody especially absorbing. Magazine illustrators who further developed imagery of the "wild west" are represented here in discussions of N. C. Wyeth and Maynard Dixon.
On a parallel track, the authors give a chapter to the early silent Westerns, highlighting the careers and contributions of Tom Mix and William S. Hart (a precursor of Clint Eastwood). Another chapter is devoted to the Hollywood Western during the sound era noting similarities between Remington's imagery and that of director John Ford. There's also a discussion of the evolution of western movie themes from "The Virginian" (1929) to "The Ballad of Cable Hogue" (1969).
This book is a rewarding study of the American West as its visual artists inspired the imaginations of people around the world. Definitely worth having.
Outstanding.......2001-12-22
An outstanding work by an outstanding scholar. I too am a former student of Dr. Goetzmann -- twenty years or so ago. His work really changed the way I look at America -- American history and American landscape. Try to rent or buy the PBS television show this book went with....
Excellent Book.......2001-03-02
I first read this book as a student in Dr. Goetzmann's undergraduate class at the University of Texas at Austin. Although not an Art History major, this is the best course I have ever taken. The book is an excellent compilation of the influence of History/Culture on the Art of the American West. There is also a PBS series which accompanies this book. I highly recommend both. I keep this book on my coffee table, and enjoy reading it regularly.
Book Description
In the years following World War II, American writers and artists produced a steady stream of popular stories about Americans living, working, and traveling in Asia and the Pacific. Meanwhile the U.S., competing with the Soviet Union for global power, extended its reach into Asia to an unprecedented degree. This book reveals that these trends--the proliferation of Orientalist culture and the expansion of U.S. power--were linked in complex and surprising ways. While most cultural historians of the Cold War have focused on the culture of containment, Christina Klein reads the postwar period as one of international economic and political integration--a distinct chapter in the process of U.S.-led globalization.
Through her analysis of a wide range of texts and cultural phenomena--including Rodgers and Hammerstein's South Pacific and The King and I, James Michener's travel essays and novel Hawaii, and Eisenhower's People-to-People Program--Klein shows how U.S. policy makers, together with middlebrow artists, writers, and intellectuals, created a culture of global integration that represented the growth of U.S. power in Asia as the forging of emotionally satisfying bonds between Americans and Asians. Her book enlarges Edward Said's notion of Orientalism in order to bring to light a cultural narrative about both domestic and international integration that still resonates today.
Customer Reviews:
New Understanding Of East and West During the Cold War.......2007-06-08
Edward W. Said convincingly argued in his 1979 masterpiece, Orientalism that the West (mainly America) traditionally had a rather monolithic view of the East. This perception, according to Said, was based more on fantasy than in fact - and that the West saw the East in terms of the `other.' MIT Literary Professor Christina Klein re-visits Said's conclusions in Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961. In this work, she successfully argues that "while many American representations fit comfortably with Said's model of Orientalism, many post-war representations of noncommunist Asia do not, although they do not contradict it entirely"
(p.11).
Essentially, Klein illustrates that various cultural mediums in post-WWII America actively engage Asian topics to bridge the cultural divide between East and West. In her powerful and well written work, Klein masterfully explains "the relationship between the expansion of U.S. power into Asia between 1945 and 1961 and the simultaneous proliferation of popular American representations of Asia" (p. 5).
There are numerous examples cited in this work that provide evidence to support her main claim that America and the Orient (the East) "could learn to understand each other" (p. 200.). For instance, she brilliantly illustrates that America reached out to post-WWII Asia through films such as The King and I and The Bridges of Toko-Ri; and through magazines such as the Readers Digest and Saturday Review. These cultural mediums, asserted Klein, educated America about Asian topics - and advanced the American Cold War interest of "economic globalization" (p. 268).
Although Klein wisely stops her study in 1961, her conclusion draws parallels between recent U.S.-Asia relations and those of post-WWII such as the revival of the King and I in 1996 and a 1991 speech by Dole Foods CEO who "praised Asian Americans as a National Resource" (p. 269).
A cursory query of reviews for Klein's work resulted in an abundance of praise and admiration for her scholarship. Klein, noted one reviewer, "is not content to simplify the complexity of the time period in order to schematize things too neatly. Rather, she seeks to dig into the richness of America's expectations for Asia, including the countervailing currents within that relationship" (review by Jespersen T. Christopher). The blend and overall comparisons between cultural mediums provides the reader with a rich and compelling story.
The passages, scholarship, anecdotes, and readability of this work are impressive. But the real value of this work is that it advances a new understanding of the East and West during the Cold War - where the former educates the latter in a mutually beneficial platform. In this reviewer's opinion, there are no obvious weaknesses to this work, nor are there any harsh criticisms from other reviewers about Klein's overall thesis. This is an important work for students of the Cold War and expands nicely on Said's research on Orientalism.
The Cold War Was Much More Than Containment and McCarthyism.......2006-04-03
Christina Klein contends that the paradigm of the Truman Doctrine can not offer a complete understanding of Cold War American culture or policy. She juxtaposes its policy of global communist containment with a 1957 speech by American diplomat Francis Wilcox that harped the need to educate Americans about the world beyond the national boundaries. This contrasts what the author terms the "global imaginary of containment" with the "global imaginary of integration." Both of these are educational projects. The first teaches the global politic as a heroic crusade against communism, the latter teaches it as a sentimental connection with the cultures of non-Americans. While acknowledging the abundance of quality scholarship that investigates the former project, Klein positions Cold War Orientalism as an investigation of the policy of Cold War internationalism and its related trope of "sentimental education." In doing so, she aims to dichotomize the discourse of history by proving that integration of the capitalist world went hand-in-hand with Soviet containment.
Klein begins by documenting the Federal policy initiatives that promoted cold war internationalism in the American populace, like the United States Information Agency's people-to-people program. These initiatives rose in the wake of McCarthyism because the Truman Doctrine had a basic rhetorical disadvantage when promoted to the American public. As shown in her analysis of National Security Council directives, a foreign policy of communist containment has the public relations problem of being defined by that which it opposes. The integration of "free" people and commodities becomes the necessary positive to imbue the ideology of containment with original purpose.
The author then considers how "middlebrow intellectuals"-the author's term for the editors of mass periodicals like Reader's Digest, claimed Cold War internationalism as a public pedagogy and instructed readers about the American commitment to cultural difference. The text importantly contends that "middlebrow"-an adjective and Klein's subtitular term-has roots in cultural populism of the 1920s. It functionally describes a process of repackaging diverse culture for mass consumption. This "offered [upwardly mobile immigrant] consumers the cultural capital that would make them feel more secure in their new class identity (Klein 64)." It also appropriates the cultural inadequacy that permeated the Untied State's post-WWI uneasiness with the global mantle. It translates this inadequacy into a call for individuals to claim the authority of widely informed knowledge. Finally, Klein contends that the "middlebrow imagination" conflated education with enjoyment and moral purpose, ironically couching human difference in the trappings of soothing universalism. To show the connection between Cold War Internationalism as public policy and middlebrow cultural project, the author compares novelized travel accounts (like James Michiner's The Voice of Asia) to policy documents like NSC-48. Both envision an Asian communism that is rabidly expansionist and interstitial states that teeter on the verge of being "lost" or safely preserved in the bloc of the free world through cultural understanding (Klein 126).
While Klein's scholarship is original, taking policies that have been discretely engaged by multiple works and disciplines (like, for example, the propaganda policy considerations of Jacques Ellul), her lexicon of sentimental internationalism also offers a fresh critique of liberalism. It remains an unfinished project to extend this exciting paradigm into wider considerations of American conflict and axes of difference.
Average customer rating:
- elegant and evocative, quietly magical
|
Pueblo Imagination
Manufacturer: Beacon Press
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ASIN: 0807066141 |
Book Description
Evocative photographs celebrating the rich culture and dramatic landscapes of the Laguna Pueblo, the native people of the U.S. Southwest. Lee Marmon is America's most renowned Native American photographer and yet this is the first book to showcase his breathtaking photography. This book combined Mr. Marmon's award-winning photographs celebrating the Laguna Pueblo - their distinctive landscapes, their traditions and history - with equally gorgeous prose and poetry by three of our most celebrated Native American writers: Lee's daughter, the novelist Leslie Marmon Silko, and the poets Joy Harpo and Simon Ortiz. With each flash of the camera, Lee Marmon captured a piece of Native American history; this book preserves that precious legacy. The Pueblo Imagination will be lavishly produced, with the highest quality reproductions, including some seventy black-and-white photos printed in duotone and eight pages of arresting color photographps. The text will flow in prose and verse from the images, setting the stage and capturing in words the history preserved in Lee Marmon's unforgettable images.
Customer Reviews:
elegant and evocative, quietly magical.......2003-11-17
Lee Marmon is a Laguna Pueblo Indian who has been taking photographs of Laguna with professional cameras since 1946.
If you've seen the poster of the elderly Indian man wearing Converse All Stars (the image on this book's cover), you've seen Marmon's work.
This collection of his work since 1946 would be worthwhile if it simply documented the ceremonies, buildings, landscapes, faces and figures-what had changed and what did not---over more than a half century. But this volume is so much more. These are beautiful photographs, mostly in black and white. The stark magic of the Southwestern landscape was captured in the abstract paintings of artists like Georgia O'Keefe and Max Ernst. But black and white photos are inherently abstract, since they turn the world of color into shades and grains. Put a master photographer who knows his subject so intimately together with this landscape and you get one astonishing image after another.
There are wonderful faces, dramatic landscapes, close-ups that let you feel the grain of old wood. There's a different feeling in every photo, indescribable in words. And the feelings can be surprising, like the strange joy in "Girls at a clothesline," with white clothes flying against a wisp of cloud, yet in the foreground is a harsh and radiant edge of stone.
There are a smaller number of color photos, just as accomplished and evocative. There's some prose by Marmon's daughter, writer Leslie Marmon Silko, as well as by writers Joy Harjo and Simon Ortiz. But it's the photographs that are important here. They draw you in, and your eyes and heart expand. If you know someone who loves the mystery and bare majesty of the Southwest, or relishes authentic and beautiful images of American Indian life, this book makes an elegant gift for Christmas or any other occasion. If that person is you, do yourself a favor. You won't have any trouble entering these images. The secrets are there.
Book Description
How is the slave trade remembered in West Africa? In a work that challenges recurring claims that Africans felt (and still feel) no sense of moral responsibility concerning the sale of slaves, Rosalind Shaw traces memories of the slave trade in Temne-speaking communities in Sierra Leone. While the slave-trading past is rarely remembered in explicit verbal accounts, it is often made vividly present in such forms as rogue spirits, ritual specialists' visions, and the imagery of divination techniques.
Drawing on extensive fieldwork and archival research, Shaw argues that memories of the slave trade have shaped (and been reshaped by) experiences of colonialism, postcolonialism, and the country's ten-year rebel war. Thus money and commodities, for instance, are often linked to an invisible city of witches whose affluence was built on the theft of human lives. These ritual and visionary memories make hitherto invisible realities manifest, forming a prism through which past and present mutually configure each other.
Customer Reviews:
Detailed research.......2003-02-03
Rosalind Shaw has created a very well documented and meticulous research of divination by the Temne and Mende people of Sierra Leone, Africa. However, while the details and dialog are detailed, at times there is just too much information just to make a simple point, with a few too many examples. She does not make, in my opinion a strong case as to the relationship between the memories of slavery and colonialism and the language and customs of the divinators. Patterns and similiarities can be seen, but they could have been expressed in about 100 pages, with thorough sources and notes, instead of the 300+ pages currently written. Shaw knows her stuff, but unless you are specializing in this field, you better learn to skim...the conclusion at the end of the chapters summarizes what takes her 20+ pages to defend.
Book Description
Within a generation San Francisco grew from an isolated Mexican trading post with more hills than people into America's major Pacific Coast city. Shaped by entrepreneurs, eccentrics, and visionaries, it became renowned for accommodating those who dared to be different.
THE CITY OF LANDMARKS: the Golden Gate Bridge; the Transamerica Pyramid; the Ferry Building; Mission Dolores; City Hall; Coit Tower; Alcatraz Island; Yerba Buena Gardens.
THE CITY OF PSYCHEDELIA: Ken Kesey and the Acid Tests; the Grateful Dead and Jefferson Airplane; the Trips Festival and the Human Be-In; underground culture and festivals.
THE CITY OF WRITERS: Ina Donna Coolbrith, Mark Twain, Bret Harte, George Sterling; Dashiel Hammett; Kenneth Rexroth; Allen Ginsberg; Herb Caen; Armistead Maupin.
Customer Reviews:
More a comment than a review.......2007-06-08
I'm a student of San Francisco history. At first this book seemed like a good general introduction to The City. Then I noticed a complete absence of any mention of Labor history. San Francisco was possibly the strongest union town in America. There were huge and successful general strikes in the thirties in SF and the forties in Oakland. Pitched battles were fought between trade unionists and soldiers. Labor controlled The City from the thirties until the seventies. The fall of labor was not accidental. Politicians built their careers on attacking labor in the seventies and eighties. The result is the current mix of low wages and high costs along with the dot com scam of the nineties. I can't recommend a history of San Francisco that leaves all of this out.
an excellent book.......2006-01-18
I bought this book in preparation for a trip to San Francisco and it really helped me understand so much about the city, from the Gold Rush right up to the dotcom boom and crash. I especially liked the use of quotes from old sources that illustrate not just the past but the present as well. Overall, the book is very engaging and well written, I'd certainly recommend it for anyone seeking a deeper understanding of San Francisco than mainstream guide books provide.
Not up to par........2006-01-09
I am teaching a class on San Francisco at SF State University in the Spring and really was interested in using this book as my course textbook. I'm really impressed with the content, but, unfortunately, I cannot use it as a text book because 1.) despite extensive factual claims and quotes, the author fails to give citations (there are absolutely no footnotes or endnotes), and 2.) there are a number of grammatical errors, in particular inconsistent punctuation. I can hardly expect my students to write essays using standard citation and correct punctuation if their textbook fails to provide it. Too bad. I would have ordered 65 copies of the book. However, I recommend the book to casual readers, interested in San Francisco history.
Average customer rating:
- let this book draw you into Gene Wolfe's writing
- a masterpiece
- difficulty is sometimes worth the price
- amazing
- The last masterpiece of the 20th Century?
|
Peace
Gene Wolfe
Manufacturer: Orb Books
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ASIN: 0312890338 |
Customer Reviews:
let this book draw you into Gene Wolfe's writing.......2005-12-31
Peace had been on my shelve for a long time, until, on one quiet sunday afternoon, I decided to go to my bookshelves and pull it out to read.
I closed it with a big gasp, only a couple days later.
This book is one of those that draw people into the genre. It is a very well written, thought provoking novel, that begs for a re read after the last line.
Gene Wolfe proves himself to be a master wordsmith, his writing is, for lack of a better word, succulent. If you are ready to be mesmerized by a book of magnificent literary proportion, read this one.
a masterpiece.......2005-05-23
It seems to be Gene Wolfe's fate that his most marvelous works be re-issued by his current publisher with the most hideous, second-rate cover designs. While Peace may be an after-thought for his editor, it certainly is not for his readers. Peace is a haunting selection of memories, nightmares and moments of joy from the life of a very successful, lonely old businessman named Alden Weer. So carefully and cleverly is the story written, that at times you are not sure whether the narrator is deluding himself or only for the first time confronting the possibility that he is guilty not only of neglect...but of monstrous crimes. As for the reader below who apparently likes his fiction explicated in color-by-numbers fashion, anything written for adults would probably strike him as hopelessly impenetrable as James Joyce.
difficulty is sometimes worth the price.......2003-06-16
Agreed with the foregoing: PEACE is indeed a "haunting and frighteningly literate retelling" of Edgar Lee Masters's SPOON RIVER ANTHOLOGY, situated somewhere on the literary spectrum between H.P. Lovecraft and Sherwood Anderson. What is most remarkable about PEACE, to me, is the way it defies any easy categorization, from genre (it's not exactly science fiction, but if not, what is it?) to form (ostensibly the interrelated, and frequently interrupted, deathbed ramblings of an old man, which ultimately construct their own dream-like architecture). In this sense PEACE is most similar to the novels of Jonathan Carroll, who mines similar territory.
My only caveats would be Tor's tiny, occluded typesetting (a valid regret, as noted elsewhere here) and the fact that Wolfe chooses to drop us into Weer's meditations without any gloss or preparation. The first thirty pages are indeed rough going--even for those of us who were in fact schooled on Joyce, Garcia Marquez, and Faulkner.
Like Carroll, Alan Garner, and other contemporary fabulists, Wolfe has yet to receive his due from the mainstream literary establishment. It's a pity. This novel should have at least started that ball rolling, long ago.
amazing.......2001-08-04
what a wonderful book! i absolutely loved it, but i admit it is not for some people. it requires careful reading and thought to come to an understanding of the book. while the previous reveiw claimed that the book was highly readable, i would have to disagree. it is complex and many layered. sure, it is not as dense as many of the literary greats but it is not a walk in teh park either. one of my favorites, i highly reccomend it.
The last masterpiece of the 20th Century?.......2001-04-21
Wolfe has written some great novels but with Peace he's made a bid for shakespearian immortality. Why? let me explain: its deep, complex , profound and disturbing but crucially (for me) unlike some of the other literary greats its very READABLE. Go out beg, borrow or buy it and read it. You will not be the same person that began it - a masterpiece!
Book Description
A staple of American popular culture during the nineteenth and early twentieth centuries, the freak show seemed to vanish after the Second World War. But as Rachel Adams reveals in Sideshow U.S.A., images of the freak show, with its combination of the grotesque, the horrific, and the amusing, stubbornly reappeared in literature and the arts. Freak shows, she contends, have survived because of their capacity for reinvention. Empty of any inherent meaning, the freak's body becomes a stage for playing out some of the twentieth century's most pressing social and political concerns, from debates about race, empire, and immigration, to anxiety about gender, and controversies over taste and public standards of decency.
Sideshow U.S.A. begins by revisiting the terror and fascination the original freak shows provided for their audiences, as well as exploring the motivations of those who sought fame and profit in the business of human exhibition. With this history in mind, Adams turns from live entertainment to more mediated forms of cultural expression: the films of Tod Browning, the photography of Diane Arbus, the criticism of Leslie Fiedler, and the fiction Carson McCullers, Toni Morrison, and Katherine Dunn. Taken up in these works of art and literature, the freak serves as a metaphor for fundamental questions about self and other, identity and difference, and provides a window onto a once vital form of popular culture.
Adams's study concludes with a revealing look at the revival of the freak show as live performance in the late 1980s and the 1990s. Celebrated by some, the freak show's recent return is less welcome to those who have traditionally been its victims. At the beginning of a new century, Adams sees it as a form of living history, a testament to the vibrancy and inventiveness of American popular culture, as well as its capacity for cruelty and injustice.
"Because of its subject matter, this interesting and complex study is provocative, as well as thought-provoking."—Virginia Quarterly Review
Customer Reviews:
Step right up, See the In-Depth Gaze, Hurry Hurry.......2006-06-30
Recently I've read through a few books on sideshows and freaks (sort of side resarch for my next novel). Most are skimming histories of people and events. Adams has created something altogether different. Drawing on poststructuralist techniques, Barthes, theories of the leisure class, and methodologies of deconstructing narratives of the other (what "freak" would do all this!!??) she pursues the notion of freaks from appropriated nomenclature to social constructs, to name a couple avenues. You want to understand Browning's movie, then this is the essay.
Her research drew upon many sources, often comprehensive, at other times less than complete. The problems are minor, some people in photographs or freaks who wrote about their positions are not mentioned, or a name might be missing in the index, or a photo clearly dated 1885 in the picture is listed as 1903. And on a broader level I suppose she could be faulted for falling into the same trap she critiques, that of denying her her subjects voices (kudos for mentioning Gayatri Spivak but what would she say about this?)
But don't misread my finicky carping. This is an excellent book and one I'd recommend above all others I've seen for digging into our individual and collective psychologies. Read it and learn why the freaks say, "Gooble Gobble Gooble Gobble, we will make you one of us."
Book Description
Voices from the dark, or "gothic," side of American life are well known through the work of writers such as Edgar Allan Poe, Nathaniel Hawthorne, and Herman Melville. But who were the Poes of American art? Until now, art historians have for the most part seen the gothic as the province of misfits and oddballs who rejected the bright landscapes and cheerful scenes of everyday life depicted by Hudson River School and other mainstream painters. In Painting the Dark Side, Sarah Burns counters this view, arguing that far from being marginal, the gothic was a pervasive and potent visual language used by recognized masters and eccentric outsiders alike to express the darker facets of history and the psyche. A deep gothic strain in the visual arts becomes evident in these beautifully written, richly illustrated pages, illuminating the entire spectrum of American art.
Weaving a complex tapestry of biography, psychology, and history, Sarah Burns exposes dark dimensions in the work of both romantic artists such as Albert Pinkham Ryder and Thomas Cole and realists like Thomas Eakins. She argues persuasively that works by artists who were generally considered outsiders, such as John Quidor, David Gilmour Blythe, and William Rimmer, belong to the mainstream of American art. She explores the borderlands where popular visual culture mingled with the elite medium of oil and delves into such topics as slave revolt, drugs, grave-robbing, vivisection, drunkenness, female monstrosity, and family secrets. Cutting deep across the grain of standard nationalistic accounts of nineteenth-century art, Painting the Dark Side provides a thrilling, radically alternative vision of American art and visual culture.
Book Description
Q: What can happen when a young boy follows the winds of his own curiosity?
A: He might just discover a land full of beauty, adventure, and new friends!
Evoking the thrill of discovery and exploration of new terrain, Brian Ajhar's fresh new interpretation of the classic campfire song will allow young readers to see the range in a whole new way--through a young boy's imagination.
Ajhar's affectionate characterization and vibrant palette are destined to make this a favorite for every aspiring cowboy and cowgirl . . . and the inclusion of the musical notation at the end might just inspire parents to take out the ole guitar and start strummin'.
Customer Reviews:
A JOYFUL STORY FOR YOUNG READERS.......2004-11-02
Young cowboys and cowgirls are sure to take a liking to this version of the classic song "Home On The Range" as seen through the eyes of a small boy who lives in a big city but dreams of being "Where the deer and the antelope play."
His favorite toys are Western - a covered wagon, a rocking horse, model cowboys and cattle. One night he sees a cowboy hat in the stars, and, in his imagination he follows the hat to the place he's always dreamed about.
A graduate of Parsons School of Design and the illustrator of several children's titles, Mr. Ajhar fills his pages with sunny and moonlit illustrations using acrylic paints and drawing pencils.
"Home on the Range" is a joyful story that will fire many young imaginations.
Book Description
"Evans has meticulously researched his subject and writes in an elegant and clear prose style that makes his book a pleasure to read.... In short, this is an outstanding scholarly book that should be of interest to Mayanists, art historians, and students of American literature and history."
—
The Americas
"
Romancing the Maya will be required (and enjoyable) reading for students of the Maya. And its careful analysis of visual expositions—including the subjective uses of photography—makes it especially appropriate for the undergraduate classroom."
—
The Journal of Latin American Anthropology
"This work will appeal to general readers because of its subject: ancient Mexico and its first investigators. The archaeologists treated here are some of the most fascinating and rakish in the history of the field. Some were real Indiana Jones types."
—Khristaan Villela, Director, Thaw Art History Center, College of Santa Fe
During Mexico's first century of independence, European and American explorers rediscovered its pre-Hispanic past. Finding the jungle-covered ruins of lost cities and artifacts inscribed with unintelligible hieroglyphs—and having no idea of the age, authorship, or purpose of these antiquities—amateur archaeologists, artists, photographers, and religious writers set about claiming Mexico's pre-Hispanic patrimony as a rightful part of the United States' cultural heritage.
In this insightful work, Tripp Evans explores why nineteenth-century Americans felt entitled to appropriate Mexico's cultural heritage as the United States' own. He focuses in particular on five well-known figures—American writer and amateur archaeologist John Lloyd Stephens, British architect Frederick Catherwood, Joseph Smith, founder of the Church of Jesus Christ of Latter-Day Saints, and the French émigré photographers Désiré Charnay and Augustus Le Plongeon. Setting these figures in historical and cultural context, Evans uncovers their varying motives, including the Manifest Destiny-inspired desire to create a national museum of American antiquities in New York City, the attempt to identify the ancient Maya as part of the Lost Tribes of Israel (and so substantiate the Book of Mormon), and the hope of proving that ancient Mesoamerica was the cradle of North American and even Northern European civilization. Fascinating stories in themselves, these accounts of the first explorers also add an important new chapter to the early history of Mesoamerican archaeology.
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The Frontier in American Culture
