Hailed by Bruce D. Smith, Curator of North American Archaeology at the Smithsonian Institution, as without question the best available book on the pre-Columbian Indian societies of eastern North America, this wide-ranging and copiously illustrated volume covers the entire sweep of Eastern Woodlands prehistory, with an emphasis on how these societies developed from hunter-gatherers to village farmers and town-dwellers.

A “certainly weird . . . strangely wonderful . . . [and] often irresistible” search to find the real Garden of Eden (The New York Times Book Review). Where, precisely, was God’s Paradise? St. Augustine had a theory. So did medieval monks, John Calvin and Christopher Columbus. But when Darwin’s theory of evolution changed our understanding of human origins, shouldn’t the desire to put a literal Eden on the map have faded away? Not so fast. This “gloriously researched, pluckily written historical and anecdotal assay of humankind’s age-old quixotic quest for the exact location of the Biblical garden” (Elle) explores an obsession that has consumed scientists and theologians alike for centuries. To this day, the search continues, taken up by amateur explorers, clergymen, scholars, engineers and educators—romantic seekers all who started with the same simple-sounding Bible verses, only to end up at a different spot on the globe: Sri Lanka, the Seychelles, the North Pole, Mesopotamia, China, Iraq—and Ohio. Inspired by an Eden seeker in her own family, “Wilensky-Lanford approaches her subjects with respect, enthusiasm and conscientious research” (San Francisco Chronicle) as she traverses a century-spanning history provoking surprising insights into where we came from, what we did wrong, and where we go from here. And it all makes for “a lively journey” (Kirkus Reviews).

This comprehensive atlas explains the genesis and evolution of impact known craters on Earth, presenting a wealth of radar images from the Italian COSMO-SkyMed satellites that were acquired at the same frequency, spatial resolution, operating mode, and illumination, allowing excellent comparison of different impact structures. It also discusses in detail the processes that have hidden or erased terrestrial impact craters, and clearly explains the basic principles of remote sensing and the COSMO-SkyMed system and radar instruments. Also, the optical satellite remote sensing technique used to produce the optical images is described. The main section documents each of the exposed craters officially recognized as caused by meteoritic impact, presenting a table with the COSMO-SkyMed radar image and, where available, a Sentinel optical image and a photograph taken in situ. A short accompanying text reports the location, context, geographical coordinates, and other ancillary information to support future researches.

Star Mounds is a full-color illustrated study of the precolonial monuments of the greater Ohio Valley, woven together with over fifty "medicine stories" inspired by Native American mythology that demonstrate the depth of the knowledge held by indigenous peoples about the universe they lived in. The earthworks of the region have long mystified and intrigued scholars, archeologists, and anthropologists with their impressive size and design. The landscape practices of pioneer families destroyed much of them in the 1700s, but, during the first half of the 1800s, some serious mapmaking expeditions were able to record their locations. Utilizing many nineteenth-century maps as a base—including those of the gentlemen explorers Ephraim Squier and Edwin Davis—author Ross Hamilton reveals the meaning and purpose of these antique monuments. Together with these maps, Hamilton applies new theories and geometrical formulas to the earthworks to demonstrate that the Ohio Valley was the setting of a manitou system, an interactive organization of specially shaped villages that was home to a sophisticated society of architects and astronomers. The author retells over fifty ancient stories based on Native American myth such as "The One-Eyed Man" and "The Story of How Mischief Became Hare" that clearly indicate how knowledgeable the valley's inhabitants were about the constellations and the movement of the stars. Finally, Hamilton relates the spiritual culture of the valley's early inhabitants to a kind of golden age of humanity when people lived in harmony with the Earth and Sky, and looks forward to a time when our own culture can foster a similar "spiritual technology" and life-giving relationship with nature.

This work offers an analysis of the way in which the phenomenon of not in my backyard operates in the United States. The author takes the situation further by offering hope for a heightened public engagement with the pressing environmental issues of the day.

Early Art of the Southeastern Indians is a visual journey through time, highlighting some of the most skillfully created art in native North America. The remarkable objects described and pictured here, many in full color, reveal the hands of master artists who developed lapidary and weaving traditions, established centers for production of shell and copper objects, and created the first ceramics in North America. Presenting artifacts originating in the Archaic through the Mississippian periods--from thousands of years ago through A.D. 1600--Susan C. Power introduces us to an extraordinary assortment of ceremonial and functional objects, including pipes, vessels, figurines, and much more. Drawn from every corner of the Southeast--from Louisiana to the Ohio River valley, from Florida to Oklahoma--the pieces chronicle the emergence of new media and the mastery of new techniques as they offer clues to their creators’ widening awareness of their physical and spiritual worlds. The most complex works, writes Power, were linked to male (and sometimes female) leaders. Wearing bold ensembles consisting of symbolic colors, sacred media, and richly complex designs, the leaders controlled large ceremonial centers that were noteworthy in regional art history, such as Etowah, Georgia; Spiro, Oklahoma; Cahokia, Illinois; and Moundville, Alabama. Many objects were used locally; others circulated to distant locales. Power comments on the widening of artists’ subjects, starting with animals and insects, moving to humans, then culminating in supernatural combinations of both, and she discusses how a piece’s artistic “language” could function as a visual shorthand in local style and expression, yet embody an iconography of regional proportions. The remarkable achievements of these southeastern artists delight the senses and engage the mind while giving a brief glimpse into the rich, symbolic world of feathered serpents and winged beings.