Often thought of as a primitive backwoods peopled by rough hunters and unsavory characters, early Arkansas was actually productive and dynamic in the same manner as other American territories and states. In this, the second volume in the Histories of Arkansas, S. Charles Bolton describes the emigration, mostly from other southern states, that carried Americans into Arkansas; the growth of an agricultural economy based on cotton, corn, and pork; the dominance of evangelical religion; and the way in which women coped with the frontier and made their own contributions toward its improvement. He closely compares the actual lifestyles of the settlers with the popularly held, uncomplimentary image.

Separate chapters deal with slavery and the lives of the slaves and with Indian affairs, particularly the dispossession of the native Quapaws and the later-arriving Cherokees. Political chapters explore opportunism in Arkansas Territory, the rise of the Democratic Party under the control of the Sevier-Johnson group known as the Dynasty, and the forces that led Arkansas to secede from the Union. In addition, Arkansas’s role in the Mexican War and the California gold rush is treated in detail.

In truth, geographic isolation and a rugged terrain did keep Arkansas underpopulated, and political violence and a disastrous experience in state banking tarnished its reputation, but the state still developed rapidly and successfully in this period, playing an important role on the southwestern frontier.

This timely book explores the troubled intertwining of religion, medicine, empire, and race relations in the early nineteenth century. John Rankin analyzes the British use of medicine in West Africa as a tool to usher in a “softer” form of imperialism, considers how British colonial officials, missionaries, and doctors regarded Africans, and explores the impact of race classification on colonial constructs.

Rankin goes beyond contemporary medical theory, examining the practice of medicine in colonial Africa as Britons dealt with the challenges of providing health care to their civilian employees, African soldiers, and the increasing numbers of freed slaves in the general population, even while the imperialists themselves were threatened by a lack of British doctors and western medicines. As Rankin writes, “The medical system sought to not only heal Africans but to ‘uplift’ them and make them more amenable to colonial control . . . Colonialism starts in the mind and can be pushed on the other solely through ideological pressure.”

“A work of great breadth, originality, and distinction.  Rarely do we see such a successful marriage between historical demography and the history of medicine.  The interconnections between population increase, migration and immigration on the one hand, and disease and the development of medicine on the other in antebellum America are brilliantly presented.”—Irvine Loudon, Bulletin of the History of Medicine
 

As women entered the field of cultural production in unprecedented numbers in nineteenth-century France and Britain, they gradually forged a place for themselves, however tenuous, in artistic movements and exhibitions, in academies and salons, and finally in the public imagination. Portraits of the Artist as a Young Woman: Painting and the Novel in France and Britain, 1800–1860 focuses on a decisive period in that process of professional self-invention and maps out the concrete and symbolic roles played by women painters, real and fictional, in the construction of female artistic identity in the aesthetic and the public spheres. Alexandra K. Wettlaufer examines the diverse and complex ways canonical and non-canonical women painters and novelists—including Anne Brontë, Sydney Owenson, Margaret Gillies, Marceline Desbordes-Valmore, George Sand, and Hortense Haudebourt-Lescot—figured and brought forth the radical image of a female subject representing the world.

 

Wettlaufer brings to light a rich and nearly forgotten culture of women’s artistic production, allowing us to understand the nineteenth-century in more complex and nuanced ways across the borders of gender, genre, and nation. In her close readings of paintings by women and novels about women painting, she charts the political and cultural resonances of this artistic self-representation, tracing its evolution through themes of “The Studio” (Part I), “Cosmopolitan Visions” (Part II), and “The Portrait” (Part III). By pairing painting and literature in a single study that also considers works from two distinct but closely related cultures, Portraits of the Artist as a Young Woman locates the interpretation of these works in the dialogic context in which they were created and consumed, highlighting aesthetic and political intersections between nineteenth-century British and French art, literature, and feminism that are too often elided by the disciplinary boundaries of scholarship.