front cover of Massachusetts and the Civil War
Massachusetts and the Civil War
The Commonwealth and National Disunion
Matthew Mason
University of Massachusetts Press, 2015
All states are not created equal, at least not when it comes to their influence on American history. That assumption underlies Massachusetts and the Civil War. The volume's ten essays coalesce around the national significance of Massachusetts through the Civil War era, the ways in which the commonwealth reflected and even modeled the Union's precarious but real wartime unification, and the Bay State's postwar return to the schisms that predated the war. Rather than attempting to summarize every aspect of the state's contribution to the wartime Union, the collection focuses on what was distinctive about its influence during the great crisis of national unity.

In the first section, "The Opposition to Slavery," essays by John Stauffer, Dean Grodzins, Peter Wirzbicki, and Richard S. Newman demonstrate the central role Massachusetts played in the rise of both the antislavery movement and abolitionism. They show how slavery's foes united, planned, and understood their cause, and how they envisioned a postwar nation free of servitude. In the second section, "The War Years," Matthew Mason, Carol Bundy, and Ronald J. Zboray and Mary Saracino Zboray investigate how the exigencies of war unified the commonwealth across party lines and over the distance between home and the front. In the final section, "Reconciliation," Sarah J. Purcell, Amy Morsman, and Kanisorn Wongsrichanalai probe postwar efforts to recover from the war's profound disruptions.
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front cover of People of the Big Voice
People of the Big Voice
Photographs of Ho-Chunk Families by Charles Van Schaick, 1879-1942
Tom Jones
Wisconsin Historical Society Press, 2011

People of the Big Voice tells the visual history of Ho-Chunk families at the turn of the twentieth century and beyond as depicted through the lens of Black River Falls, Wisconsin studio photographer, Charles Van Schaick. The family relationships between those who “sat for the photographer” are clearly visible in these images—sisters, friends, families, young couples—who appear and reappear to fill in a chronicle spanning from 1879 to 1942. Also included are candid shots of Ho-Chunk on the streets of Black River Falls, outside family dwellings, and at powwows. As author and Ho-Chunk tribal member Amy Lonetree writes, “A significant number of the images were taken just a few short years after the darkest, most devastating period for the Ho-Chunk. Invasion, diseases, warfare, forced assimilation, loss of land, and repeated forced removals from our beloved homelands left the Ho-Chunk people in a fight for their culture and their lives.”

The book includes three introductory essays (a biographical essay by Matthew Daniel Mason, a critical essay by Amy Lonetree, and a reflection by Tom Jones) and 300-plus duotone photographs and captions in gallery style. Unique to the project are the identifications in the captions, which were researched over many years with the help of tribal members and genealogists, and include both English and Ho-Chunk names.
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