This is the stirring, epic story of the hundreds of Indian nations that have inhabited North America for more than 15,000 years and of their centuries-long struggle with the Europeans. It is a story of friendship, treachery, courage and war, beginning when Columbus disembarked at Hispaniola among the Arawaks in 1492, and comes to a climax when the last groups of Sioux were moved onto a reservation following the massacre at Wounded Knee in 1890.We meet men and women, heroes and villains through their own words, their lives recreated from memory, memoir, and ancient documents: Massasoit, whose greeting to the Mayflower pilgrims - 'Welcome, Englishmen' - was given in their own language; Pocahontas, whose father's intervention on behalf of John Smith ironically changed the course of her life; Deganawida, known as the Peace Maker, whose Great Law laid the foundation for the confederacy among the five nations of the Iroquois, which in turn may have influenced the colonists' fledging efforts at confederation; Sequoyah, inventor of the Cherokee alphabet; Tecumseh, the charismatic Shawnee leader; Satanta, who led the Kiowa resistance; Chief Joseph of the Nez Perce; Cochise and Geronimo of the Apaches; Red Cloud, Sitting Bull and Crazy Horse of the Sioux...Written by the celebrated historian Alvin M. Josephy, Jr., lavishly illustrated with nearly 500 paintings, woodcuts, drawings, photographs, and Indian artifacts, this thrilling and beautiful book shows us the many worlds of North America's Indians, as we have never seen them before.

Traces the evolution of human beings from the creation of the universe to the advent of the Neanderthals. Also discusses how archaeologists use available evidence to reconstruct the past.

Illustrated with photographs, maps, and the work of both historic and contemporary artists, this book is a comprehensive history of the native peoples of North America.

Alphabetically-arranged entries provide information on more than nine hundred key characters and themes in the mythology of the Americas.

Categorized into eight geographical regions, this encyclopedic reference examines the history, beliefs, traditions, languages, and lifestyles of indigenous peoples of North America.

Praise for the first edition: "A model of excellence in the art of reference volume publishing ... Every public and school library ... should acquire this treasure. It will remain the standard for many years to come." -- Dr. James A. Clifton, Department of Anthropology, Western Michigan University "This substantial reference remains one of the most elaborately illustrated books on Native Americans now in print... Highly recommended." -- Library Journal This superb, fully illustrated reference offers the most up-to-date and essential facts on the identity, kinships, locations, populations and cultural characteristics of some 400 separately identifiable peoples native to the North American continent, both living and extinct, from the Canadian Arctic to the Rio Grande. This revised edition adds 32 pages, updates all facts and provides improved illustrations and maps. The abundance of illustrations and photographs form an especially rich store of material describing the vast range of Native American material culture. The maps are valuable pictorial representations of major historical events. Population and settlement trends based on the most recent US Census paint detailed portraits of all officially recognized tribes. The book includes: More than 300 color and archival photographs, many of them improved selections Extensive visual coverage of tribal dress and cultural artifacts 21 regional maps, including prehistoric cultural and historic sites and tribe distribution maps, as well as maps showing movement of tribes and non-indigenous troops during conflicts, all updated as needed More than 100 specially commissioned color illustrations, also improved as needed. This is one of the most comprehensive, up-to-date and useful references published in recent years. Scholarly and accessible, it is an important record of the Native American peoples and an essential purchase for schools and libraries.

After 1850, Americans swarmed to take in a raft of new illustrated journals and papers. Engravings and drawings of "buckskinned braves" and "Indian princesses" proved an immensely popular attraction for consumers of publications like Frank Leslie's Illustrated Newspaper and Harper's Weekly . In Indians Illustrated , John M. Coward charts a social and cultural history of Native American illustrations--romantic, violent, racist, peaceful, and otherwise--in the heyday of the American pictorial press. These woodblock engravings and ink drawings placed Native Americans into categories that drew from venerable "good" Indian and "bad" Indian stereotypes already threaded through the culture. Coward's examples show how the genre cemented white ideas about how Indians should look and behave--ideas that diminished Native Americans' cultural values and political influence. His powerful analysis of themes and visual tropes unlocks the racial codes and visual cues that whites used to represent--and marginalize--native cultures already engaged in a twilight struggle against inexorable westward expansion.

A collection of photographs from museums, collectors and private dealers that documents five centuries of Native American artistry.

In The Inconvenient Indian, Thomas King offers a deeply knowing, darkly funny, unabashedly opinionated, and utterly unconventional account of Indian–White relations in North America since initial contact. Ranging freely across the centuries and the Canada–U.S. border, King debunks fabricated stories of Indian savagery and White heroism, takes an oblique look at Indians (and cowboys) in film and popular culture, wrestles with the history of Native American resistance and his own experiences as a Native rights activist, and articulates a profound, revolutionary understanding of the cumulative effects of ever-shifting laws and treaties on Native peoples and lands. Suffused with wit, anger, perception, and wisdom, The Inconvenient Indian is at once an engaging chronicle and a devastating subversion of history, insightfully distilling what it means to be “Indian” in North America. It is a critical and personal meditation that sees Native American history not as a straight line but rather as a circle in which the same absurd, tragic dynamics are played out over and over again. At the heart of the dysfunctional relationship between Indians and Whites, King writes, is land: “The issue has always been land.” With that insight, the history inflicted on the indigenous peoples of North America—broken treaties, forced removals, genocidal violence, and racist stereotypes—sharpens into focus. Both timeless and timely, The Inconvenient Indian ultimately rejects the pessimism and cynicism with which Natives and Whites regard one another to chart a new and just way forward for Indians and non-Indians alike.

In Indigenous North American film Native Americans tell their own stories and thereby challenge a range of political and historical contradictions, including egregious misrepresentations by Hollywood. Although Indians in film have long been studied, especially as characters in Hollywood westerns, Indian film itself has received relatively little scholarly attention. In Imagic Moments Lee Schweninger offers a much-needed corrective, examining films in which the major inspiration, the source material, and the acting are essentially Native. Schweninger looks at a selection of mostly narrative fiction films from the United States and Canada and places them in historical and generic contexts. Exploring films such as Powwow Highway, Smoke Signals, and Skins, he argues that in and of themselves these films constitute and in fact emphatically demonstrate forms of resistance and stories of survival as they talk back to Hollywood. Self-representation itself can be seen as a valid form of resistance and as an aspect of a cinema of sovereignty in which the Indigenous peoples represented are the same people who engage in the filming and who control the camera. Despite their low budgets and often nonprofessional acting, Indigenous films succeed in being all the more engaging in their own right and are indicative of the complexity, vibrancy, and survival of myriad contemporary Native cultures.