The Black Hawk War was the final conflict east of the Mississippi River between American Indian communities and the United States regular troops and militia. Exploring the museums, wayside markers and parks relating to that struggle is not just a journey of historic significance through beautiful natural scenery. It is also an amazing convergence of legendary personalities, from Abraham Lincoln to Jefferson Davis. Follow the fallout of the war from the Quad Cities on the Illinois/Iowa border, through the "Trembling Lands" along the Kettle Morraine and into the Driftless Area of southern Wisconsin. Pairing local insight with big-picture perspective, Ben Strand charts an overlooked quadrant of America's frontier heritage.
A retelling of the Black Hawk War that brings into focus the forces struggling for control over the American frontier. Until 1822, the Sauk Nation occupied one of North America's largest and most prosperous Indian settlements, the envy of white Americans who had already begun to encroach upon the rich Indian land. When the inevitable conflicts turned violent, the Sauks were forced into exile, banished forever from the east side of the Mississippi River. Black Hawk and his followers rose up in the spring of 1832 and defiantly crossed the Mississippi from Iowa to Illinois to reclaim their ancestral home. Though the war lasted only three months, no other violent encounter between white America and native peoples embodies so clearly the essence of the Republic's inner conflict between its belief in freedom and human rights and its insatiable appetite for new territory.--From publisher description.
In 1832, facing white expansion, the Sauk warrior Black Hawk attempted to forge a pan-Indian alliance to preserve the homelands of the confederated Sauk and Fox tribes on the eastern bank of the Mississippi. Here, Patrick J. Jung re-examines the causes, course, and consequences of the ensuing war with the United States, a conflict that decimated Black Hawk's band. Correcting mistakes that plagued previous histories, and drawing on recent ethnohistorical interpretations, Jung shows that the outcome can be understood only by discussing the complexity of intertribal rivalry, military ineptitude, and racial dynamics.
In the spring of 1832, when the Indian warrior Black Hawk and a thousand followers marched into Illinois to reoccupy lands ceded to American settlers, the U.S. Army turned to rival tribes for military support. In order to grasp Indian motives, Hall explores their alliances in earlier wars with colonial powers and in intertribal conflicts.
Is peace an aberration? The New York Times bestselling author of Paris 1919 offers a provocative view of war as an essential component of humanity. NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY THE NEW YORK TIMES BOOK REVIEW “Margaret MacMillan has produced another seminal work. . . . She is right that we must, more than ever, think about war. And she has shown us how in this brilliant, elegantly written book.”—H.R. McMaster, author of Dereliction of Duty and Battlegrounds: The Fight to Defend the Free World The instinct to fight may be innate in human nature, but war—organized violence—comes with organized society. War has shaped humanity’s history, its social and political institutions, its values and ideas. Our very language, our public spaces, our private memories, and some of our greatest cultural treasures reflect the glory and the misery of war. War is an uncomfortable and challenging subject not least because it brings out both the vilest and the noblest aspects of humanity. Margaret MacMillan looks at the ways in which war has influenced human society and how, in turn, changes in political organization, technology, or ideologies have affected how and why we fight. War: How Conflict Shaped Us explores such much-debated and controversial questions as: When did war first start? Does human nature doom us to fight one another? Why has war been described as the most organized of all human activities? Why are warriors almost always men? Is war ever within our control? Drawing on lessons from wars throughout the past, from classical history to the present day, MacMillan reveals the many faces of war—the way it has determined our past, our future, our views of the world, and our very conception of ourselves.
A supplemental textbook for middle and high school students, Hoosiers and the American Story provides intimate views of individuals and places in Indiana set within themes from American history. During the frontier days when Americans battled with and exiled native peoples from the East, Indiana was on the leading edge of America’s westward expansion. As waves of immigrants swept across the Appalachians and eastern waterways, Indiana became established as both a crossroads and as a vital part of Middle America. Indiana’s stories illuminate the history of American agriculture, wars, industrialization, ethnic conflicts, technological improvements, political battles, transportation networks, economic shifts, social welfare initiatives, and more. In so doing, they elucidate large national issues so that students can relate personally to the ideas and events that comprise American history. At the same time, the stories shed light on what it means to be a Hoosier, today and in the past.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
