The largest known collection of ledger art ever acquired by one individual is Mark Lansburgh’s diverse assemblage of more than 140 drawings, now held by the Hood Museum of Art at Dartmouth College and catalogued in this important book. The Cheyennes, Crows, Kiowas, Lakotas, and other Plains peoples created the genre known as ledger art in the mid-nineteenth century. Before that time, these Indians had chronicled the heroic achievements of their warriors and chiefs on rock, buffalo robes, and tipi covers. As they came into increasing contact with American traders, the artists recorded their experiences in pencil and crayon drawings on paper bound in ledger or account books. The drawings became known as ledger art. This volume presents in full color the Lansburgh collection in its entirety. The drawings are narratives depicting Plains lifeways through Plains eyes. They include landscapes and scenes of battle, hunting, courting, ceremony, incarceration, and travel by foot, horse, train, and boat. Ledger art also served to prompt memories of horse raids and heroic exploits in battle. In addition to showcasing the Lansburgh collection, Ledger Narratives augments the growing literature on this art form by providing seven new essays that suggest some of the many stories the drawings contain and that look at them from innovative perspectives. The authors—scholars of art history, anthropology, history, and Native American studies—touch on such themes as gender, social status, sovereignty, tribal and intertribal politics, economic exchange, and confinement and space in a changing world. The Lansburgh collection includes some of the most arresting examples of Plains Indian art, and the essays in this volume help us see and hear the multiple narratives these drawings relate.

"Ledger art is the term used to describe Plains Indian drawings and paintings on paper from the second half of the nineteenth century because they were often made on ledger paper readily available from military outposts. Howling Wolf is arguably the single most important ledger artist to emerge from the anonymity of this period. The Southern Cheyenne warrior was not only an extremely skilled artist, he was also the only Plains artist known to have created ledger art in all three phases of the art form: the pre-reservation era, the years from 1875 to 1878 when Indians of the southern Plains were confined at Fort Marion in Florida, and the reservation period. Howling Wolf's drawings while he was a prisoner at Fort Marion and those he made upon returning to the reservation were known, but this book presents the first in-depth examination of his previously undiscovered work from before his incarceration. The author shows ledger art to be a significant record of cultural attitudes of Plains Indian artists at a time when their societies were in great upheaval. She examines the works of art not only as historic documents but as visual statement reflecting the time, place, and society in which they originated. In contrast to the belief that ledger art was a stagnant form adhering to tradition, the author presents ledger art as a dynamic and inventive means of expression."--Book jacket.

Ledger art has traditionally been created by men to recount the lives of male warriors on the Plains. During the past forty years, this form has been adopted by Native female artists, who are turning previously untold stories of women’s lifestyles and achievements into ledger-style pictures. While there has been a resurgence of interest in ledger art, little has been written about these women ledger artists. Women and Ledger Art calls attention to the extraordinary achievements of these strong women who have chosen to express themselves through ledger art. Author Richard Pearce foregrounds these contributions by focusing on four contemporary women ledger artists: Sharron Ahtone Harjo (Kiowa), Colleen Cutschall (Oglala Lakota), Linda Haukaas (Sicangu Lakota), and Dolores Purdy Corcoran (Caddo). Pearce spent six years in continual communication with the women, learning about their work and their lives. Women and Ledger Art examines the artists and explains how they expanded Plains Indian history. With 46 stunning images of works in various mediums—from traditional forms on recovered ledger pages to simulated quillwork and sculpture, Women in Ledger Art reflects the new life these women have brought to an important transcultural form of expression.

Looks at drawings in Indian ledger books, depicting traditional dances and war losses, and includes scholarly commentary

Northern Cheyenne Ledger Art by Fort Robinson Breakout Survivors presents Dodge City ledger-art images and biographies that document a Native perspective at the cusp of reservation life in 1879.

An award-winning historian reveals the harrowing forgotten story of America's internal slave trade—and its role in the making of America. Slave traders are peripheral figures in most histories of American slavery. But these men—who trafficked and sold over half a million enslaved people from the Upper South to the Deep South—were essential to slavery's expansion and fueled the growth and prosperity of the United States. In The Ledger and the Chain, acclaimed historian Joshua D. Rothman recounts the shocking story of the domestic slave trade by tracing the lives and careers of Isaac Franklin, John Armfield, and Rice Ballard, who built the largest and most powerful slave-trading operation in American history. Far from social outcasts, they were rich and widely respected businessmen, and their company sat at the center of capital flows connecting southern fields to northeastern banks. Bringing together entrepreneurial ambition and remorseless violence toward enslaved people, domestic slave traders produced an atrocity that forever transformed the nation.

A vivid and moving story about family, courage, and the power of education Ruth remembers the day the sheriff pulled up in front of her family's home with a white neighbor who claimed Ruth's father owed her recently deceased husband money. It was the early 1940s in Jim Crow South Carolina, and even at the age of eleven, Ruth knew a Black person's word wasn't trusted. But her father remained calm as he waited on her mother's return from the house. Ruth's mother had retrieved a gray book, which she opened and handed to the sheriff. Satisfied by what he saw, the sheriff and the woman left. Ruth didn't know what was in that book, but she knew it was important. In Beatrice's Ledger, Ruth R. Martin brings to life the stories behind her mother's entries in that well-worn ledger, from financial transactions to important details about her family's daily struggle to survive in Smoaks, South Carolina, a small town sixty miles outside of Charleston. Once the land of plantations, slavery, and cotton, by the time Ruth was born in 1930 many of the plantations were gone but the cotton remained. Ruth's family made a living working the land, and her father owned a local grist and sawmill used by Black and white residents in the area. The family worked hard, but life was often difficult, and Ruth offers rich descriptions of the sometimes-perilous existence of a Black family living in rural South Carolina at mid-century. But there was joy as well as hardship, and readers will be drawn into the story of life in Smoaks. Enriched with public records research and interviews with friends and family still living in Smoaks, Martin weaves history, humor, and family lore into a compelling narrative about coming of age as a Black woman in the Jim Crow South. Martin recounts her journey from Smoaks to Tuskegee Institute and beyond. It is a story about the power of family; about the importance of the people we meet along the way; and about the place we call home.

Cover -- Title Page -- Copyright Page -- Contents -- Preface -- Acknowledgments -- Introduction -- 1. Lakota Tradition -- 2. Lakota Practice -- 3. George Sword -- 4. Lakota Formulas -- 5. Textual Analysis -- 6. Lakota Theme -- 7. Traditional Implications -- Appendix 1: Narrative 1 and Literary Translation -- Appendix 2: Narrative 2 and Literary Translation -- Appendix 3: Narrative 3 and Literary Translation -- Appendix 4: Sun Dance Narrative andLiterary Translation -- Notes -- References -- Index

Lakota Texts is a treasure trove of stories told in the original language by modern Lakota women who make their home in Denver, Colorado. Sometimes witty, often moving, and invariably engaging and fascinating, these stories are both autobiographical and cultural. The stories present personal experiences along with lessons the women have learned or were taught about Lakota history, culture, and legends. The women share aspects of their own lives, including such rituals as powwows, the sweatlodge, and rites of puberty. The women also include details of the older Lakota world and its customs, revered myths, more recent stories, and jokes. In addition to the valuable light Lakota Texts sheds on the lives of modern Lakota women, these stories also represent a significant contribution to American Indian linguistics. Regina Pustet has meticulously transcribed and translated the stories in a detailed, interlinear format that makes the texts a rich source of information about modern Lakota language itself.

This book directly addresses the multiplicity and complexity of narrative research by illustrating a variety of avenues to pursuing and publishing research that falls under the umbrella of narrative work. The chapters are drawn from a wide range of disciplines including education, literary studies, cultural studies, music and clinical studies. Each chapter considers a particular methodological issue or approach, illustrating how it was addressed in the course of the research. Each of the chapters concludes with a set of discussion exercises and a further reading list. The book offers a valuable resource for established researchers seeking to expand their methodological and theoretical repertoire, and for graduate students and researchers new to narrative methods.