From historian and critically acclaimed author of The Three-Cornered War comes the captivating story of how Yellowstone became the world’s first national park in the years after the Civil War, offering “a fresh, provocative study…departing from well-trodden narratives about conservation and public recreation” (Booklist, starred review). Each year nearly four million people visit Yellowstone National Park—one of the most popular of all national parks—but few know the fascinating and complex historical context in which it was established. In late July 1871, the geologist-explorer Ferdinand Hayden led a team of scientists through a narrow canyon into Yellowstone Basin, entering one of the last unmapped places in the country. The survey’s discoveries led to the passage of the Yellowstone Act in 1872, which created the first national park in the world. Now, author Megan Kate Nelson examines the larger context of this American moment, illuminating Hayden’s survey as a national project meant to give Americans a sense of achievement and unity in the wake of a destructive civil war. Saving Yellowstone follows Hayden and two other protagonists in pursuit of their own agendas: Sitting Bull, a Lakota leader who asserted his peoples’ claim to their homelands, and financier Jay Cooke, who wanted to secure his national reputation by building the Northern Pacific Railroad through the Great Northwest. Hayden, Cooke, and Sitting Bull staked their claims to Yellowstone at a critical moment in Reconstruction, when the Ulysses S. Grant Administration and the 42nd Congress were testing the reach and the purpose of federal power across the nation. “A readable and unfailingly interesting look at a slice of Western history from a novel point of view” (Kirkus Reviews), Saving Yellowstone reveals how Yellowstone became both a subject of fascination and a metaphor for the nation during the Reconstruction era. This “land of wonders” was both beautiful and terrible, fragile and powerful. And what lay beneath the surface there was always threatening to explode.

Railroads, tourism, and government bureaucracy combined to create modern religion in the American West, argues David Walker in this innovative study of Mormonism's ascendency in the railroad era. The center of his story is Corinne, Utah—an end-of-the-track, hell-on-wheels railroad town founded by anti-Mormon businessmen. In the disputes over this town's frontier survival, Walker discovers intense efforts by a variety of theological, political, and economic interest groups to challenge or secure Mormonism's standing in the West. Though Corinne's founders hoped to leverage industrial capital to overthrow Mormon theocracy, the town became the site of a very different dream. Economic and political victory in the West required the production of knowledge about different religious groups settling in its lands. As ordinary Americans advanced their own theories about Mormondom, they contributed to the rise of religion itself as a category of popular and scholarly imagination. At the same time, new and advantageous railroad-related alliances catalyzed LDS Church officials to build increasingly dynamic religious institutions. Through scrupulous research and wide-ranging theoretical engagement, Walker shows that western railroads did not eradicate or diminish Mormon power. To the contrary, railroad promoters helped establish Mormonism as a normative American religion.

The construction of the transcontinental railroad (1865–1869) marked a milestone in United States history, symbolizing both the joining of the country’s two coasts and the taming of its frontier wilderness by modern technology. But it was through the power of images—and especially the photograph—that the railroad attained its iconic status. Iron Muse provides a unique look at the production, distribution, and publication of images of the transcontinental railroad: from their use as an official record by the railroad corporations, to their reproduction in the illustrated press and travel guides, and finally to their adaptation to direct sales and albums in the late nineteenth and twentieth centuries. Tracing the complex relationships and occasional conflicts between photographer, publisher, and curator as they crafted the photographs’ different meanings over time, Willumson provides a comprehensive portrayal of the creation and evolution of an important slice of American visual culture.

Landscape in American Guides and View Books: Visual History of Touring and Travel is vested in the American relationship to landscape and the role guidebooks and view books played in touring and travel experiences, including immigration. Early in the history of the republic, the relationship to landscape turns visual, that is, landscapes inspire artistic responses in the form of written descriptions and visual representations. The predominant element is the scene. From the 1820s on scenic thinking, within an emerging industrial economy, characterizes a major cultural and social development. As immigration increases, within the country and from abroad, publishers and trade groups create souvenir guidebooks and view books to facilitate the movement of people, and to encourage economic expansion and tourism. Guide and view book analysis centers on pictures of landscape transformations and includes the cultural basis of scenes changing from pastoral and picturesque expressions to the documentation of managed views. The general acceptance of managed views as replacements for romantic ones illustrates a commitment to landscapes that denote utility and the influence of commercial and industrial urban centers on American life. Guidebook and view book imagery, composed of durable schemas, promotes visual thinking across social classes and time. The primary medium for souvenirs is the photograph, which printing methods, like photolithography, transform into printed products. The visual history of touring and travel is part of America's first visual culture, as well as the social formation of landscape, the emergence of a collective vision among souvenir producers and consumers, and the role visual information plays in landscape commentary, which is the literary context for printed souvenirs.