Author, photographer, historian, archeologist, and preservationist Charles Fletcher Lummis stood tall in the affections of American Southwesterners at the turn of the 20th century. This work acquaints readers with a remarkable recorder of history.

Between the 1870s and 1950s collectors vigorously pursued the artifacts of Native American groups. Setting out to preserve what they thought was a vanishing culture, they amassed ethnographic and archaeological collections amounting to well over one million objects and founded museums throughout North America that were meant to educate the public about American Indian skills, practices, and beliefs. In Collecting Native America contributors examine the motivations, intentions, and actions of eleven collectors who devoted substantial parts of their lives and fortunes to acquiring American Indian objects and founding museums. They describe obsessive hobbyists such as George Heye, who, beginning with the purchase of a lice-ridden shirt, built a collection that—still unsurpassed in richness, diversity, and size—today forms the core of the Smithsonian's National Museum of the American Indian. Sheldon Jackson, a Presbyterian missionary in Alaska, collected and displayed artifacts as a means of converting Native peoples to Christianity. Clara Endicott Sears used sometimes invented displays and ceremonies at her Indian Museum near Boston to emphasize Native American spirituality. The contributors chart the collectors' diverse attitudes towards Native peoples, showing how their limited contact with American Indian groups resulted in museums that revealed more about assumptions of the wider society than about the cultures being described.

Lummis' other set of letters, to the Los Angeles times, are well-known as the basis for his A Tramp across the continent (Chas. Scribner's Sons, 1892). These are the 24 letters written to the Chillicothe Leader. They are more robust than the Times versions, which were more deliberately crafted, more commercial. An essential for Western collections. Annotation copyrighted by Book News, Inc., Portland, OR

Los Angeles: scratch the surface of the city's image as a rich mosaic of multinational cultures and a grittier truth emerges-its huge, shimmering economy was built on the backs of largely Latino immigrants and still depends on them. This book exposes the underside of the development and restructuring that have turned Los Angeles into a global city, and in doing so it reveals the ways in which ideas about ethnicity-Latino identity itself-are implicated and elaborated in the process."A truly pathbreaking work that puts Latinos where they belong: in the center of debate about the future of the U

Mystic Chords of Memory "Illustrated with hundreds of well-chosen anecdotes and minute observations . . . Kammen is a demon researcher who seems to have mined his nuggets from the entire corpus of American cultural history . . . insightful and sardonic." —Washington Post Book World In this ground-breaking, panoramic work of American cultural history, the Pulitzer Prize-winning author of A Machine That Would Go of Itself examines a central paradox of our national identity How did "the land of the future" acquire a past? And to what extent has our collective memory of that past—as embodied in our traditions—have been distorted, or even manufactured? Ranging from John Adams to Ronald Reagan, from the origins of Independence Day celebrations to the controversies surrounding the Vietnam War Memorial, from the Daughters of the American Revolution to immigrant associations, and filled with incisive analyses of such phenonema as Americana and its collectors, "historic" villages and Disneyland, Mystic Chords of Memory is a brilliant, immensely readable, and enormously important book. "Fascinating . . . a subtle and teeming narrative . . . masterly." —Time "This is a big, ambitious book, and Kammen pulls it off admirably. . . . [He] brings a prodigious mind and much scholarly rigor to his task . . . an importnat book—and a revealing look at how Americans look at themselves." —Milwaukee Journal

This extensively revised edition of Thurman Wilkins’s masterful and engaging biography - well illustrated in color and black-and-white - draws on new information and recent scholarship to place Thomas Moran more securely in the milieu of the Gilded Age. It also portrays more fully the controversies that surrounded the art of Moran’s time, as he became "the Dean of American Painters." The American West was the subject of Thomas Moran’s greatest artistic triumphs - Yosemite, the Grand Canyon of the Colorado, Zion Canyon, the Virgin River, Colorado’s Mountain of the Holy Cross, and the Grand Tetons - but his travels with Ferdinand V. Hayden’s geological surveys of the Upper Yellowstone were matched by trips to his native Britain and to Venice, Florida, the Spanish Southwest, and Old Mexico. These scenes inspired memorable landscapes and seascapes, as did the sojourns of the Moran family in Pennsylvania, New Jersey, and East Hampton, Long Island, when they retreated from the demands of the New York art scene. In the 1880s Moran and his artist wife, Mary Nimmo Moran, also threw themselves into the etching craze of the period, creating some of the finest prints produced in the United States. Moran was an artist happy in his work. He wrote, "I have always held that the grandest, most beautiful, or wonderful in nature, would, in capable hands, make the grandest, most beautiful, or wonderful pictures." The New York Times said of the first edition of this unique account of his life, "Moran’s mastery comes through clearly and awesomely and often, pleasurably." Readers will find the new edition equally enjoyable.

In See America First, Marguerite Shaffer chronicles the birth of modern American tourism between 1880 and 1940, linking tourism to the simultaneous growth of national transportation systems, print media, a national market, and a middle class with money and time to spend on leisure. Focusing on the See America First slogan and idea employed at different times by railroads, guidebook publishers, Western boosters, and Good Roads advocates, she describes both the modern marketing strategies used to promote tourism and the messages of patriotism and loyalty embedded in the tourist experience. She shows how tourists as consumers participated in the search for a national identity that could assuage their anxieties about American society and culture. Generously illustrated with images from advertisements, guidebooks, and travelogues, See America First demonstrates that the promotion of tourist landscapes and the consumption of tourist experiences were central to the development of an American identity.