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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.
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…
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…
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.
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…
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.
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…
Carrie Gibson is a London-based writer who grew up in the US and spends as much time as she can in Latin America and the Caribbean. She started out as a journalist, working at UK newspapers, including the Guardian and the Observer, before diving into a PhD and historical research on European colonialism and its legacy in the Americas. She is the author of two books and continues to contribute to media outlets in the UK and US.
I had never heard of Lorenzo de Zavala until I started researching El Norte, and his story deserves to be much more widely known. He was born in Mexico when it was still under Spanish rule, and later became involved in Mexican independence. He also participated in the formation of the breakaway Republic of Texas (Tejas) in 1836, and he served as its first vice-president. Before that period of his life, however, he took a tour of the United States. He started in New Orleans in 1830, working his way north and east. This book describes that trip and his observations about the United States. It is one of the earliest travel accounts of the US written by a Mexican, and it provides a fascinating perspective from someone whose life intersected with pivotal political moments in both countries.
First published in Paris in 1834, Journey to the United States of America \/ Viaje a los Estados Unidos del Norte América, by Lorenzo de Zavala, is an elegantly written travel narrative that maps de Zavalas journey through the United States during his exile from Mexico in 1830. Embracing U.S., Texas, and Mexican history; early ethnography; geography; and political philosophy, de Zavala outlines the cultural and political institutions of Jacksonian America and post\-independence Mexico. de Zavalas commentary rivals Alex de Tocquevilles classic travel narrative, Democracy in America, which was published in Paris one year after de Zavalas. The narrative presents…
It’s all about the stories. Although I have been a professor, a think-tanker, and a secondee to the Foreign Office, by training I am a historian, so I love compelling, vivid, extraordinary stories, and for me, the best ones come from Russia. Having been traveling there since Soviet times, done my Ph.D. on it, drunk there with spooks and gangsters, talked late in the night in the kitchens of artists and journalists, I am as hooked as I ever was, and privileged to be able to write, teach, lecture and think about this splendidly bizarre place.
Russians are not intrinsically good, bad, or ugly, they’re just like the rest of us. But living in Putin’s era often forces all kinds of compromises on people, especially if they want to live well and make a difference to the world around them. New Yorker’s Yaffa digs deep into the experiences of eight such ambitious Russians, some of whom deformed themselves to thrive, others of whom were all but broken by the experience. It’s not always the easiest book to read, but it’s an excellent exploration of what living in today’s Russia can mean.
SHORTLISTED FOR THE ORWELL PRIZE FOR POLITICAL WRITING
In this penetrating exploration of contemporary Russia, Joshua Yaffa meets a variety of Russians - from politicians and entrepreneurs to artists and historians - who have built their careers and constructed their identities in the shadow of the Putin system. Torn between their own ambitions and the omnipresent demands of the state, each has found that compromise is essential for survival and success. Between Two Fires is an intimate and probing portrait of a nation much discussed but little understood, and an urgent lesson about the nature of modern authoritarianism.
Van Gosse, Professor of History at Franklin & Marshall College, is the author ofWhere the Boys Are: Cuba, Cold War America, and the Making of a New Left, published in 1993 and still in print, a classic account of how "Yankees" engaged with the Cuban Revolution in its early years. Since then he has published widely on solidarity with Latin America and the New Left; for the past ten years he has also taught a popular course, "Cuba and the United States: The Closest of Strangers."
Perez is a commanding figure in this scholarship, deeply learned. I like teaching this concise book of his, full of powerful illustrations (cartoons over many decades), because it really gets at how North Americans have projected their racialized and sexualized fantasies and obsessions onto this island, unable to perceive Cubans as real people, let alone historical actors.
This title presents the images of beneficence, acts of aggression.For more than two hundred often turbulent years, Americans have imagined and described Cuba and its relationship to the United States by conjuring up a variety of striking images - Cuba as a woman, a neighbor, a ripe fruit, a child learning to ride a bicycle. One of the foremost historians of Cuba, Louis A. Perez Jr. offers a revealing history of these metaphorical and depictive motifs and uncovers the powerful motives behind such characterizations of the island.Perez analyzes the dominant images and their political effectiveness as they have persisted and…
It’s all about the stories. Although I have been a professor, a think-tanker, and a secondee to the Foreign Office, by training I am a historian, so I love compelling, vivid, extraordinary stories, and for me, the best ones come from Russia. Having been traveling there since Soviet times, done my Ph.D. on it, drunk there with spooks and gangsters, talked late in the night in the kitchens of artists and journalists, I am as hooked as I ever was, and privileged to be able to write, teach, lecture and think about this splendidly bizarre place.
Most studies of modern Russia, under the shadow of Vladimir Putin, start from the top down. This elegantly quirky study, by a journalist working in Russia, looks bottom up: why has Russia so often been ruled by autocrats, and why did the Russian people – at first, at least – accept this rather grey ex-KGB officer as their new tsar so enthusiastically? It’s a biography of modern Russia more than anything else, framed around a range of characters Arutunyan encountered in her travels around this fascinating country.
GETTING TO GRIPS WITH RUSSIA’S 21ST CENTURY TSAR Vladimir V. Putin has confounded world leaders and defied their assumptions as they tried to figure him out, only to misjudge him time and again. The Putin Mystique takes the reader on a journey through the Russia of Vladimir Putin, named by Forbes magazine in 2013 as the most powerful man in the world. It is a neo-feudal world where iPads, WTO membership, and Brioni business suits conceal a power structure straight out of the Middle Ages, where the Sovereign is perceived as both divine and demonic, where a man’s riches are…
Laura A. Macaluso researches and writes about monuments, museums, and material culture. Interested in monuments since the 1990s, the current controversies and iconoclasm (monument removals) have reshaped society across the globe. She works at the intersection of public art and public history, at places such as George Washington’s Mount Vernon.
Teachable Monuments is an expensive book, but it is also a book useful for integrating the work of scholars with teachers, using monuments to examine and create new meanings from monument culture via curriculum and classroom activities. The book comes after the murder of George Floyd in 2020, a seismic event in the United States and abroad which hastened the removals of many Confederate and Columbus monuments, as well as monuments in Europe and beyond.
Monuments around the world have become the focus of intense and sustained discussions, activism, vandalism, and removal. Since the convulsive events of 2015 and 2017, during which white supremacists committed violence in the shadow of Confederate symbols, and the 2020 nationwide protests against racism and police brutality, protesters and politicians in the United States have removed Confederate monuments, as well as monuments to historical figures like Christopher Columbus and Dr. J. Marion Sims, questioning their legitimacy as present-day heroes that their place in the public sphere reinforces.
The essays included in this anthology offer guidelines and case studies tailored for…
I have been writing books on public art and memorials since the early 1990s and served on some major public commissions that select memorials and/or determine the fate of problematic memorials. These markers in our public spaces define who we are as a culture at a certain point in time, even though interpretations of them may evolve. They are our link to our history, express our present day values, and send a message to the future about who we are and what we value and believe in.
We rarely stop to think about memorials in terms of what emotion might have prompted them.
That is what Doss does here, covering a wide range of subjects and geographic sites. It is clear from her analysis that grief, fear, gratitude, shame, and anger have inspired a range of works representing a range of motivations for commemoration.
After reading this book you will never look at memorials in the same way. I had never thought of memorials in terms of emotional affect before and now consider it a major factor to be considered.
In the past few decades, thousands of new memorials to executed witches, victims of terrorism, and dead astronauts, along with those that pay tribute to civil rights, organ donors, and the end of communism, have dotted the American landscape. Equally ubiquitous, though until now, less the subject of serious inquiry, are temporary memorials: spontaneous offerings of flowers and candles that materialize at sites of tragic and traumatic death. In "Memorial Mania", Erika Doss argues that these memorials underscore our obsession with issues of memory and history, and the urgent desire to express - and claim - those issues in visibly…
