Here are 100 books that Teachable Monuments fans have personally recommended if you like
Teachable Monuments.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I'm fascinated with material culture – studying the things we make and use – and what they tell us about our history. My particular passion is for nineteenth-century Black material culture, often the only tangible history of enslaved and newly-emancipated Black lives. The books on my list educated me of the historical realities for African Americans, from emancipation to Jim Crow – providing critical context for deciphering the stories embedded in historical artifacts. Overall, the gendered (and harrowing) history these books provide on the contributions of African-American women to civil rights and social justice should be required reading for everyone.
I consider Standing Soldiers, Kneeling Slaves one of the best books on how Confederate monuments came to dominate nineteenth-century public spaces – most notably in my hometown of Richmond, Virginia - and what they tell us about post-Civil War history.
It is a compelling narrative of how white Southern society purposefully chiseled racism and white superiority into their post-war commemorative landscape, and used these memorials to both re-define the public’s memory of the Civil War and to cement the white-black hierarchy established during slavery.
Savage’s analysis of the Confederate monuments looks at all the political, historical, cultural, and artistic factors that enabled the creation of Richmond’s racialized landscape. This approach helped me understand the importance of context when examining nineteenth-century public art through a twenty-first-century lens.
A history of U.S. Civil War monuments that shows how they distort history and perpetuate white supremacy
The United States began as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how the history of slavery and its violent end was told in public spaces-specifically in the sculptural monuments that came to dominate streets, parks, and town squares in nineteenth-century America. Looking at monuments built and unbuilt, Kirk Savage shows how the greatest…
I remember well my first visit to Gettysburg on a high school trip. I had trouble expressing what I felt until I read the words of a battlefield guide who said that he often sensed a “brooding omnipresence.” I have often felt such presences across the historic landscape in the U.S. and elsewhere. I am now Professor Emeritus of History at Indiana University, and former editor of the Journal Of American History. I have also written Preserving Memory: The Struggle To Create America’s Holocaust Museum; The Unfinished Bombing: Oklahoma City In American Memory, and co-edited American Sacred Space; History Wars: The Enola Gay And Other Battles For The American Past; and Landscapes Of 9/11: A Photographer’s Journey.
Levinson’s book does not focus on traditional battle sites. Rather, it thoughtfully introduces readers to battles that take place over clashing expressions of public memory, particularly memorial controversies, including clashes over name changes and monument removal. I think readers will appreciate his thoughtful treatment of the vexing issues that have swirled around the appropriate location of Confederate memorials. Well before the recent push to remove such memorials from public space, Levinson offered readers various options for dealing with such volatile issues. His book is an insightful and timely guide into the battlefields of public memory.
Is it "Stalinist" for a formerly communist country to tear down a statue of Stalin? Should the Confederate flag be allowed to fly over the South Carolina state capitol? Is it possible for America to honor General Custer and the Sioux Nation, Jefferson Davis and Abraham Lincoln? Indeed, can a liberal, multicultural society memorialize anyone at all, or is it committed to a strict neutrality about the quality of the lives led by its citizens?
In Written in Stone, legal scholar Sanford Levinson considers the tangled responses of ever-changing societies to the monuments and commemorations created by past regimes or…
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.
Controversial Monuments and Memorialswas published the year after the “Unite the Right” rally in Charlottesville, which saw whites rally around the monument to Thomas Jefferson on the University of Virginia campus. This event, and the murders of nine African Americans at Emanuel AME Church in Charleston, SC in 2015, hastened public discord with symbols of the Confederacy and white supremacy. Allison’s book was the first to step into the space where scholars, museum staff, and community activists came together to examine how monuments were used as tools for systemic racism as well as progressive social change. The book is a great resource for those looking to enter the conversation about controversies surrounding monuments and memorials in the United States.
Out of the chaos and pain of Charlottesville, museum professionals, public historians, and community leaders must move quickly to face the challenges of competing historical memory, claims of heritage desecration and the ongoing scourge of racism. This book takes on the tough issues that communities across America---and analogous locales overseas---must face as white supremacy, political quagmires and visions of reconciliation with the past collide.
The events of summer of 2017 that culminated in Charlottesville are outgrowths of ongoing dialogues and disputes about controversial history that encompass numerous historical situations and touch every part of US history. Strategies for working effectively…
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.
Monument Lab is one book to get your hands on, if you are curious to know how a historic city can remake its traditional monumental history to become more inclusive and reflective of a holistic past and present. The book is about the organization called Monument Lab, which works with communities, artists, and more to reshape the monument culture of Philadelphia. Filled with short essays and colorful photographs, Monument Lab and Monument Lab the book model the democratic turn towards inclusive monument making in an American city.
What is an appropriate monument for the current city of Philadelphia? That was the question posed by the curators, artists, scholars, and students who comprise the Philadelphia-based public art and history studio Monument Lab. And in 2017, along with Mural Arts Philadelphia, they produced and organized a groundbreaking, city-wide exhibition of temporary, site-specific works that engaged directly with the community. The installations, by a cohort of diverse artists considering issues of identity, appeared in iconic public squares and neighborhood parks with research and learning labs and prototype monuments.
Monument Lab is a fabulous compendium of the exhibition and a critical…
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.
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…
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…
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…
I grew up in New York City in the 1980s as an Arab Latina American Muslim, which shaped my interest in who is considered American. Back then, there was no language to talk about my experience of marginalization as Arab or Muslim. That changed after 9/11 and the War on Terror. A decade after that, the term “Islamophobia” entered the US lexicon, leading to social recognition of this form of discrimination, and many important debates about what constitutes Islamophobia. I made my career exploring how Arabs and Muslims figure into US racial politics, and am currently a professor of US Ethnic Studies at the University of Southern California.
This is a remarkable book that offers a clear historical overview of Islamophobia in the US, going back several centuries.
Kumar shows that it is geopolitics that shapes whether Muslims are seen as friends or enemies. Thus the origin of Islamophobia is not a problem with Islam itself, but rather in US endeavors to remain a global empire. Besides Islamophobia, the books offers clear explanations to understand terrorism, the War on Terror, and empire.
In this incisive account, leading scholar of Islamophobia Deepa Kumar traces the history of anti-Muslim racism from the early modern era to the "War on Terror." Importantly, Kumar contends that Islamophobia is best understood as racism rather than as religious intolerance. An innovative analysis of anti-Muslim racism and empire, Islamophobia argues that empire creates the conditions for anti-Muslim racism, which in turn sustains empire.
This book, now updated to include the end of the Trump's presidency, offers a clear and succinct explanation of how Islamophobia functions in the United States both as a set of coercive policies and as a…
Born in Budapest, Hungary, Susan Rubin Suleiman emigrated to the U.S. as a child with her parents. She has had a distinguished career as a professor of French and comparative literature at Harvard, publishing more than a dozen books and over 100 scholarly articles. Her acclaimed memoir about returning to Budapest, Budapest Diary: In Search of the Motherbook, appeared in 1996; in 2023, she published Daughter of History: Traces of an Immigrant Girlhood, a memoir of immigration which was a finalist for a 2024 National Jewish Book Award. She has been awarded many honors, including the Radcliffe Medal for Distinguished Achievement in 1990 and France’s highest honor, the Légion d’Honneur, in 2018.
This is another classic, published in 1999. Novick shows how the memory of the Holocaust evolved in the U.S. to the point where, in his opinion, it has come to dominate public consciousness in a way that may prevent people from paying attention to present problems. I think things have changed since he wrote his book, but he presents an argument that remains challenging.
Prize-winning historian Peter Novick illuminates the reasons Americans ignored the Holocaust for so long -- how dwelling on German crimes interfered with Cold War mobilization; how American Jews, not wanting to be thought of as victims, avoided the subject. He explores in absorbing detail the decisions that later moved the Holocaust to the center of American life: Jewish leaders invoking its memory to muster support for Israel and to come out on top in a sordid competition over what group had suffered most; politicians using it to score points with Jewish voters. With insight and sensitivity, Novick raises searching questions…
As a career journalist who has worked in print, online, on the radio and on television, I’ve long been intrigued by the influence of mass media and the vast technological changes in how information is transmitted that have occurred over the course of my career. Burnt out from the daily deadlines and transformed by a chance to work in the Kingdom of Bhutan, I began writing books and gravitate toward the “origin stories” of influential US entities.
Mitchell was the first person hired by NPR when it was first charted in 1970. He was appointed its first producer after the first initial, scattered year of production of its first news program, All Things Considered, which debuted in May, 1971. This is an excellent survey of the early years from the perch of a behind-the-scenes insider and offers to clues about how the network developed.
Public radio stands as a valued national institution, one whose fans and listeners actively support it with their time and their money. In this new history of this important aspect of American culture, author Jack W. Mitchell looks at the dreams that inspired those who created it, the all-too- human realities that grew out of those dreams, and the criticism they incurred from both sides of the political spectrum. As National Public Radio's very first employee, and the first producer of its legendary All Things Considered, Mitchell tells the story of public radio from the point of view of an…
