Excerpt from The Theatre on the Frontier: The Early Years of the St. Louis Stage Finally, in closing, I desire to express my very deep and sin cere appreciation of the interest manifested in my work by my colleagues at Washington University and of the encourage ment they have given me on all occasions. I am especially grateful to Professor W. R. Mackenzie and Professor George B. Parks for valuable suggestions and advice; to Professor Ralph Bieber for sharing with me his knowledge of frontier history; and to Professor Richard F. Jones for the many hours he has devoted to helping me to the solution of knotty problems and the effective presentation of my material. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Nearly one thousand years ago, Native peoples built a satellite suburb of America's great metropolis on the site that later became St. Louis. At its height, as many as 30,000 people lived in and around present-day Cahokia, Illinois. While the mounds around Cahokia survive today (as part of a state historic site and UNESCO world heritage site), the monumental earthworks that stood on the western shore of the Mississippi were razed in the 1800s. But before and after they fell, the mounds held an important place in St. Louis history, earning it the nickname “Mound City.” For decades, the city had an Indigenous reputation. Tourists came to marvel at the mounds and to see tribal delegations in town for trade and diplomacy. As the city grew, St. Louisans repurposed the mounds—for a reservoir, a restaurant, and railroad landfill—in the process destroying cultural artifacts and sacred burial sites. Despite evidence to the contrary, some white Americans declared the mounds natural features, not built ones, and cheered their leveling. Others espoused far-fetched theories about a lost race of Mound Builders killed by the ancestors of contemporary tribes. Ignoring Indigenous people's connections to the mounds, white Americans positioned themselves as the legitimate inheritors of the land and asserted that modern Native peoples were destined to vanish. Such views underpinned coerced treaties and forced removals, and—when Indigenous peoples resisted—military action. The idea of the “Vanishing Indian” also fueled the erasure of Indigenous peoples’ histories, a practice that continued in the 1900s in civic celebrations that featured white St. Louisans “playing Indian” and heritage groups claiming the mounds as part of their own history. Yet Native peoples endured and in recent years, have successfully begun to reclaim the sole monumental mound remaining within city limits. Drawing on a wide range of sources, Patricia Cleary explores the layers of St. Louis’s Indigenous history. Along with the first in-depth overview of the life, death, and afterlife of the mounds, Mound City offers a gripping account of how Indigenous histories have shaped the city’s growth, landscape, and civic culture.
Macau, New Orleans, St. Louis, Pittsburgh, and San Francisco. All of these metropolitan centers were once frontier cities, urban areas irrevocably shaped by cross-cultural borderland beginnings. Spanning a wide range of periods and locations, and including stories of eighteenth-century Detroit, nineteenth-century Seattle, and twentieth-century Los Angeles, Frontier Cities recovers the history of these urban places and shows how, from the start, natives and newcomers alike shared streets, buildings, and interwoven lives. Not only do frontier cities embody the earliest matrix of the American urban experience; they also testify to the intersections of colonial, urban, western, and global history. The twelve essays in this collection paint compelling portraits of frontier cities and their inhabitants: the French traders who bypassed imperial regulations by throwing casks of brandy over the wall to Indian customers in eighteenth-century Montreal; Isaac Friedlander, San Francisco's "Grain King"; and Adrien de Pauger, who designed the Vieux Carré in New Orleans. Exploring the economic and political networks, imperial ambitions, and personal intimacies of frontier city development, this collection demonstrates that these cities followed no mythic line of settlement, nor did they move lockstep through a certain pace or pattern of evolution. An introduction puts the collection in historical context, and the epilogue ponders the future of frontier cities in the midst of contemporary globalization. With innovative concepts and a rich selection of maps and images, Frontier Cities imparts a crucial untold chapter in the construction of urban history and place.
This publication presents recent research in the field of western American narrative painting, and focuses on nine artists who helped to develop the images of the trapper, flatboatman, pioneer, Indian, and other American "types." It shows the familiar paintings of George Caleb Bingham in context with those of less-known artists such as William Rauney and Charles Wilmar and the relatively unknown works of Charles Deas. The essays demonstrate how the images of these and other artists were related to literature and to the popular prints through which they were transmitted to a wide audience. Narrative painting was especially prevalent in the years 1830 to 1860, when much of the public perception of the West was formed, and the scenes of the familiar--of everyday life--helped the unfamiliar and exotic West become an integral part of America's concept of itself. ISBN 0-89659-691-5: $39.95 (For use only in the library).