Sample the hearty helpings at the Hungry Dutchman and the dainty morsels at the Denver Dry Goods Tearoom to get a taste of a tradition rich with innovation, hard work, and crazy ideas. Waitresses, chefs, owners, and suppliers bring back the restaurants of yesteryear by sharing success stories and signature recipes. Just don't be surprised by sudden cravings for savory cannolis from Carbones, rich Mija Pie from Baur's, egg rolls at the Lotus Room, or chile rellenos at Casa Mayan.
"With an appendix containing a full analysis of the debts of the United States, the several states, municipalities etc. Also statements of street railway and traction companies, industrial corporations, etc." (statement omitted on later vols.).
In 1928, the newly organized Denver Artists Guild held its inaugural exhibition in downtown Denver. Little did the participants realize that their initial effort would survive the Great Depression and World War II—and then outlive all of the group’s fifty-two charter members. The guild’s founders worked in many media and pursued a variety of styles. In addition to the oils and watercolors one would expect were masterful pastels by Elsie Haddon Haynes, photographs by Laura Gilpin, sculpture by Gladys Caldwell Fisher and Arnold Rönnebeck, ceramics by Anne Van Briggle Ritter and Paul St. Gaudens, and collages by Pansy Stockton. Styles included realism, impressionism, regionalism, surrealism, and abstraction. Murals by Allen True, Vance Kirkland, John E. Thompson, Louise Ronnebeck, and others graced public and private buildings—secular and religious—in Colorado and throughout the United States. The guild’s artists didn’t just contribute to the fine and decorative arts of Colorado; they enhanced the national reputation of the state. Then, in 1948, the Denver Artists Guild became the stage for a great public debate pitting traditional against modern. The twenty-year-old guild split apart as modernists bolted to form their own group, the Fifteen Colorado Artists. It was a seminal moment: some of guild’s artists became great modernists, while others remained great traditionalists. Enhanced by period photographs and reproductions of the founding members’ works, The Denver Artists Guild chronicles a vibrant yet overlooked chapter of Colorado’s cultural history. The book includes a walking tour of guild members’ paintings and sculptures viewable in Denver and elsewhere in Colorado, by Leah Naess and author Stan Cuba.
Caroline Bancroft History Prize 2021, Denver Public Library Armitage-Jameson Prize 2021, Coalition of Western Women's History David J. Weber Prize 2021, Western History Association W. Turrentine Jackson Prize 2021, Western History Association Tiny You tells the story of one of the most successful political movements of the twentieth century: the grassroots campaign against legalized abortion. While Americans have rapidly changed their minds about sex education, pornography, arts funding, gay teachers, and ultimately gay marriage, opposition to legalized abortion has only grown. As other socially conservative movements have lost young activists, the pro-life movement has successfully recruited more young people to its cause. Jennifer L. Holland explores why abortion dominates conservative politics like no other cultural issue. Looking at anti-abortion movements in four western states since the 1960s--turning to the fetal pins passed around church services, the graphic images exchanged between friends, and the fetus dolls given to children in school--she argues that activists made fetal life feel personal to many Americans. Pro-life activists persuaded people to see themselves in the pins, images, and dolls they held in their hands and made the fight against abortion the primary bread-and-butter issue for social conservatives. Holland ultimately demonstrates that the success of the pro-life movement lies in the borrowed logic and emotional power of leftist activism.
Sometimes called "The Chivington Massacre" by those who would emphasize his responsibility for the attack and "The Battle of Sand Creek" by those who would imply that it was not a massacre, this event has become one of our nation’s most controversial Indian conflicts. The subject of army and Congressional investigations and inquiries, a matter of vigorous newspaper debates, the object of much oratory and writing biased in both directions, the Sand Creek Massacre very likely will never be completely and satisfactorily resolved. This account of the massacre investigates the historical events leading to the battle, tracing the growth of the Indian-white conflict in Colorado Territory. The author has shown the way in which the discontent stemming from the treaty of Fort Wise, the depredations committed by the Cheyennes and Arapahoes prior to the massacre, and the desire of some of the commanding officers for a bloody victory against the Indians laid the groundwork for the battle at Sand Creek.
Before the invention of the combine, the binder was an essential harvesting implement that cut grain and bound the stalks in bundles tied with twine that could then be hand-gathered into shocks for threshing. Hundreds of thousands of farmers across the United States and Canada relied on binders and the twine required for the machine’s operation. Implement manufacturers discovered that the best binder twine was made from henequen and sisal—spiny, fibrous plants native to the Yucatán Peninsula of Mexico. The double dependency that subsequently developed between Mexico and the Great Plains of the United States and Canada affected the agriculture, ecology, and economy of all three nations in ways that have historically been little understood. These interlocking dependencies—identified by author Sterling Evans as the “henequen-wheat complex”—initiated or furthered major ecological, social, and political changes in each of these agricultural regions. Drawing on extensive archival work as well as the existing secondary literature, Evans has woven an intricate story that will change our understanding of the complex, transnational history of the North American continent.
