One typewritten manuscript and one set of galley proofs. Both have handwritten corrections and comments.

In this book Valerie Sherer Mathes and Richard Lowitt examine how the national publicity surrounding the trial of Chief Standing Bear, as well as a speaking tour by the chief and others, brought the plight of his tribe, and of all Native Americans, to the attention of the general public, serving as a catalyst for the nineteenth-century Indian reform movement"--BOOK JACKET.

"Read [this book] before you read another thing. Surely you too will rank it as a classic".-American Indian Crafts and Culture. Standing Bear was a chieftain of the Ponca Indian tribe, which farmed and hunted peacefully along the Niobrara River in northeastern Nebraska. In 1878 the Poncas were forced by the federal government to move to Indian Territory. During the year they were driven out, 158 out of 730 died, including Standing Bear's young son, who had begged to be buried on the Niobrara. Early in 1879 the chief, accompanied by a small band, defied the federal government by returning to the ancestral home with the boy's body. At the end of ten weeks of walking through winter cold, they were arrested. However, General George Crook, touched by their "pitiable condition", turned for help to Thomas H. Tibbles, a crusading newspaperman on the Omaha Daily Herald, who rallied public support. Citing the Fourteenth Amendment, Standing Bear brought suit against the federal government. The resulting trial first established Indians as persons within the meaning of the law. At the end of his testimony, Standing Bear held out his hand to the judge and pleaded for recognition of his humanity: "My hand is not the color of yours, but if I pierce it, I shall feel pain. If you pierce your hand, you also feel pain. The blood that will flow from mine will be of the same color as yours. I am a man. The same God made us both". Kay Graber, editor emeritus at the University of Nebraska Press, has edited and provided a new introduction for this eyewitness account of the celebrated court case. She is also editor of Sister to the Sioux (Nebraska 1978).

In 1877, Standing Bear and his Indian people, the Ponca, were forcibly removed from their land in northern Nebraska. In defiance, Standing Bear sued in U.S. District Court for the right to return home. In a landmark case, the judge, for the first time in U.S. history, recognized Native American rights-acknowledging that "Standing Bear is a person"-and ruled in favor of Standing Bear. Standing Bear Is a Person is the fascinating behind-the-scenes story of that landmark 1879 court case, and the subsequent reverberations of the judge's ruling across nineteenth-century America. It is also a story filled with memorable characters typical of the Old West-the crusty and wise Indian chief, Standing Bear, the Army Indian-fighting general who became a strong Indian supporter, the crusading newspaper editor who championed Standing Bear's cause, and the "most beautiful Indian maiden of her time," Bright Eyes, who became Standing Bear's national spokesperson. At a time when America was obsessed with winning the West, no matter what, this is an intensely human story and a small victory for compassion. It is also the chronicle of an American tragedy: Standing Bear won his case, but the court's decision that should have changed everything, in the end, changed very little for America's Indians.

Authoritative guide to everything in print about lawmen and the lawless—from Billy the Kid to the painted ladies of frontier cow towns. Nearly 2,500 entries, taken from newspapers, court records, and more.

Recreates the life of the nineteenth-century American anthropologist, focusing on her efforts to improve the conditions under which the American Indians existed

Established in 1911, The Rotarian is the official magazine of Rotary International and is circulated worldwide. Each issue contains feature articles, columns, and departments about, or of interest to, Rotarians. Seventeen Nobel Prize winners and 19 Pulitzer Prize winners – from Mahatma Ghandi to Kurt Vonnegut Jr. – have written for the magazine.

Bringing together Custer, Sherman, Grant, and other fascinating military and political figures, as well as great native leaders such as Crazy Horse, Sitting Bull, and Geronimo, this “sweeping work of narrative history” (San Francisco Chronicle) is the fullest account to date of how the West was won—and lost. After the Civil War the Indian Wars would last more than three decades, permanently altering the physical and political landscape of America. Peter Cozzens gives us both sides in comprehensive and singularly intimate detail. He illuminates the intertribal strife over whether to fight or make peace; explores the dreary, squalid lives of frontier soldiers and the imperatives of the Indian warrior culture; and describes the ethical quandaries faced by generals who often sympathized with their native enemies. In dramatically relating bloody and tragic events as varied as Wounded Knee, the Nez Perce War, the Sierra Madre campaign, and the Battle of the Little Bighorn, we encounter a pageant of fascinating characters, including Custer, Sherman, Grant, and a host of officers, soldiers, and Indian agents, as well as great native leaders such as Crazy Horse, Sitting Bull, Geronimo, and Red Cloud and the warriors they led. The Earth Is Weeping is a sweeping, definitive history of the battles and negotiations that destroyed the Indian way of life even as they paved the way for the emergence of the United States we know today.

This is the first book-length exploration of the ways art from the edges of the Roman Empire represented the future, examining visual representations of time and the role of artwork in Roman imperial systems. This book focuses on four kingdoms from across the empire: Cottius’s Alpine kingdom in the north, King Juba II’s Mauretania in the south-west, Herodian Judea in the east, and Kommagene to the north-east. Art from the imperial frontier is rarely considered through the lens of the aesthetics of time, and Roman provincial art and the monuments of allied rulers are typically interpreted as evidence of the interaction between Roman and local identities. In this interdisciplinary study, which explores statues, wall paintings, coins, monuments, and inscriptions, readers learn that these artworks served as something more: they were created to represent the futures that allied rulers and their people foresaw. The pressure of Roman imperialism drove patrons and artists on the empire’s borders to imbue their creations with increasingly sophisticated ideas about the future, as they wrestled with consequential decisions made under periods of intense political pressure. Comprehensively illustrated and providing an important new approach to Roman material culture at the edge of empire, Visions of the Future in Roman Frontier Kingdoms 100 BCE–100 CE is suitable for students and scholars working on Rome and its frontiers, as well as Roman material culture more broadly, and those studying the aesthetics of time in art and art history.