Monuments and memorials pepper our public landscape. Many walk right by them, uncurious about who or what’s being honored. I can’t. I’m a historian. I’m driven to learn the substance of the American past, but I also want to know how history itself is constructed, not just by professionals but by common people. I’m fascinated by how “public memory” is interpreted and advanced through monuments. I often love the artistry of these memorial features, but they’re not mere decoration; they mutely speak, saying simple things meant to be conclusive. But as times change previous conclusions can unravel. I’ve long been intrigued by this phenomenon, writing and teaching about it for thirty years.
Monument Wars, like no other book I’ve read, explains the essence of the “monument”—what it is, what it’s supposed to do, and how it does it (or fails to do it)—in the context of American history.
Monuments freeze time and aspire to “closure,” setting heroes or momentous events and their meaning, literally, in stone. But our national lives and history do not stand still, and public memory thus changes with time, often with fraught consequences.
Savage brilliantly examines and illuminates this dissonance, focusing on the most important monumental space in the United States—Washington, D.C., and the National Mall.
Smart, surprising, and accessible, this account of the national capital’s contested terrain offers a vivid case study of how Americans remember, sometimes forget, and increasingly contest their past through sculpture, ceremonial landscape, and the theatrics of the built landscape.
The National Mall in Washington, D.C., is 'a great public space, as essential a part of the American landscape as the Grand Canyon', according to architecture critic Paul Goldberger, but few realize how recent, fragile, and contested this achievement is. In "Monument Wars", Kirk Savage tells the Mall's engrossing story - its historic plan, the structures that populate its corridors, and the sea change it reveals regarding national representation. Central to this narrative is a dramatic shift from the nineteenth-century concept of a decentralized landscape, or 'ground'-heroic statues spread out in traffic circles and picturesque parks-to the twentieth-century ideal of…
The Unfinished Bombingwas eerily prescient when first published in 2001 and remains uncannily relevant today.
Linenthal set the standard in his analysis of public tragedy, its impact on an American community and the larger nation, and its memorialization.
In April 1995, a white homegrown right-wing terrorist bombed the Alfred P. Murrah Federal Building in Oklahoma City, killing 168 men, women, and children. Linenthal’s story of the massive crime, outpourings of grief, and the efforts to memorialize the dead and prevent future cataclysms is gripping and personal yet academically astute.
The Oklahoma City National Memorial & Museum that rose from the rubble is among the most culturally and aesthetically successful monuments in the history of American public memory. Though seemingly eclipsed by the catastrophic events of September 11, 2001, this story of rupture and recovery, so well told by the author, continues to be critical and instructive.
On April 19, 1995 the bombing of the Alfred P. Murrah Federal Building in Oklahoma City shook the nation, destroying our complacent sense of safety and sending a community into a tailspin of shock, grief, and bewilderment. Almost as difficult as the bombing itself has been the aftermath, its legacy for Oklahoma City and for the nation, and the struggle to recover from this unprecedented attack. In The Unfinished Bombing, Edward T. Linenthal explores the many ways Oklahomans and other Americans have tried to grapple with this catastrophe. Working with exclusive access to materials gathered by the Oklahoma City National…
Civil War statues have long been the gold standard for America’s monumental public landscape.
They are the public sculptures and architectural features we are now rediscovering, sometimes with horror, and arguing over, after years of mute service as park furniture and pigeon roosts. Brown’s book is a definitive history of these classic, heroic monuments.
Beautifully written, perceptive, and illuminating, it explains their history, offering readers an engaging and invaluable background and context for understanding how and why they were erected, and how they’ve not only reflected American culture but have propelled it, particularly (as the title suggests) towards militarization and the affirmation of racial and class hierarchies.
Reading Civil War Monuments focuses our view on monumental things all around us that we’ve never really seen.
This sweeping new assessment of Civil War monuments unveiled in the United States between the 1860s and 1930s argues that they were pivotal to a national embrace of military values. Americans' wariness of standing armies limited construction of war memorials in the early republic, Thomas J. Brown explains, and continued to influence commemoration after the Civil War. As large cities and small towns across the North and South installed an astonishing range of statues, memorial halls, and other sculptural and architectural tributes to Civil War heroes, communities debated the relationship of military service to civilian life through fund-raising campaigns, artistic…
I was transfixed by Kelman’s story, masterfully, sympathetically narrated. It’s populated by few monuments, and the one squatting at the Sand Creek Massacre National Historic Site is modest and understated. Here even the place of those dark events was in dispute.
Blending history with a gripping account of the struggle over public memory, and centering Native people, Kelman chronicles the modern search for the site (and meaning) of one of the most gruesome acts of government violence in American history, at Sand Creek, where U.S. troops slaughtered more than 150 peaceful Southern Cheyenne and Arapaho campers (mostly women and children) in November 1864.
The Colorado Pioneer Association commemorated (and glorified) the sordid event in 1909 with a Denver monument cataloging Sand Creek as a Civil War battle. But a search for truth and reconciliation would challenge and remake this public memory, and Kelman is an unrivaled guide in that process.
In the early morning of November 29, 1864, with the fate of the Union still uncertain, part of the First Colorado and nearly all of the Third Colorado volunteer regiments, commanded by Colonel John Chivington, surprised hundreds of Cheyenne and Arapaho people camped on the banks of Sand Creek in southeastern Colorado Territory. More than 150 Native Americans were slaughtered, the vast majority of them women, children, and the elderly, making it one of the most infamous cases of state-sponsored violence in U.S. history. A Misplaced Massacre examines the ways in which generations of Americans have struggled to come to…
Iconoclasm isn’t new. The word means, literally, “image destroying.”
History is littered with instances going back to Antiquity. But something fresh is happening right now in the United States.
Smashing Monumentsis a lively, bracing, much-needed account of the iconoclasm roiling contemporary America’s public landscape, particularly in the wake of the white supremacists’ murderous march in Charlottesville in 2017 and George Floyd’s killing by Minneapolis police in 2020.
Captivating reportage and historically informed analysis, from the unique perspective of a scholar of art history and law, propels our reconsideration of American public icons, their origins, their sometimes-sordid purposes, their standing, and what might replace them.
Thompson doesn’t fully answer this last question, but she rouses us to rethink U.S. public history, commemoration, and the form and function of monuments themselves.
An urgent and fractious national debate over public monuments has erupted in America. Some people risk imprisonment to tear down long-ignored hunks of marble; others form armed patrols to defend them. Why do we care so much about statues? And who gets to decide which ones should stay up and which should come down?
Erin L. Thompson, the country's leading expert in the tangled aesthetic, legal, political and social issues involved in such battles brings much-needed clarity in Smashing Statues. She traces the turbulent history of American monuments and its abundant ironies, starting with the enslaved man who helped make…
Surveying the expanse of U.S. history, American Relics and the Politics of Public Memory shows how relic-like objects have articulated glory, courage, and national greatness as well as horror, defeat, and oppression. While relics mostly signified heroism in the nation’s early years, increasingly, they have acquired a new purpose—commemorating victimhood. The atrocious artifacts of lynching and the looted remains of Native American graves were later transformed into shameful things, exposing ongoing racial violence and advancing calls for equality and civil rights.
American Relicspursues this fraught, sometimes whimsical, material history and assesses the emergence of new venues of memorialization, including virtual and digital spaces. Through it all, relics continue to arrest us, grounding and shaping U.S. public memory in our uncertain present and future.
I have been to, and loved, North, Central, and especially East Africa for over fifty years. Only six times have I been to Africa on holiday; more often, perhaps twenty or more times, as a television producer. Working in Africa gains a perspective of reality that the glories of vacation do not. Each has its place, each its pitfalls like stalled plane rides with emergency landings in the bush or attacks by wildlife. But, in the end, the magic of the “otherness,” what an old friend called “primitava” captures one’s soul and changes your life.
Keen to rekindle their love of East African wildlife adventures after years of filming, extreme dangers, and rescues, producer Pero Baltazar, safari guide Mbuno Waliangulu, and Nancy Breiton, camerawoman, undertake a filming walking adventure north of Lake Rudolf, crossing from Kenya into Ethiopia along the Omo River, following a herd of elephant making their annual migration.
Stumbling onto an elephant poaching, the team become embroiled in true financing of terrorism for al Shabaab –ivory sales–and are determined to stop the slaughter at any cost. Ivory trade financing terrorism involves UN refugee camps with two hundred thousand displaced Somali persons, powerful…
A documentary team hiking through East Africa collides with a gang of deadly poachers, in this gripping adventure by the author of Kidnapped on Safari.
Years of filming, extreme dangers, and daring rescues have taken their toll on documentary producer Pero Baltazar and his team. To relax and reconnect with the East African wildlife they love, Pero organizes a walking safari for him, his camerawoman Nancy Breiton, and their elite guide Mbuno Waliangulu. Still, Pero has trouble truly disconnecting from work. When the team comes across a herd of elephants making their annual migration north of Lake Rudolf, Pero decides…
