The Invasion, a novel originally published in 1932, marked the debut of historical novelist Janet Lewis, who went on to write numerous poems and short stories as well as the novels The Wife of Martin Guerre and The Trial of Soren Quist. Lewis grew up in the Lake country of the Old Northwest and The Invasion is based on family stories she heard as a child.The Invasion displays well-researched historical accuracy, an innate understanding of and feeling for Native American culture enhanced by the author's fluency in the Ojibway language, and an economy of style that is remarkable for a first novel.
In 1790, John Johnston, a cultivated young Irishman, came to the far corner of the Northwest Territory to make his fortune intending to spend only a year. Instead he married Ozhah-guscoday- wayquay (The Woman of the Glade), daughter of the Ojibway chief Waub- ojeeg, and settled on the St. Mary's River. Together they founded a family that was loved, respected, and famous throughout the region for honesty, fairness, and hospitality. Their home was the center of culture for the area and for every visiting traveler, Native American or white. The Invasion chronicles a time when one culture violently supplanted another even as it depicts a family that blends two cultures together.
Henry Rowe Schoolcraft considered the Johnston family his most valued connection to the Native American population. He eventually married Jane Johnston, daughter of John and The Woman of the Glade, and remain close to her entire family. In his diary, Schoolcraft wrote of the Johnstons, "I have in fact stumbled, as it were, on the only family in Northwest America who could in Indian lore have acted as my guide, philosopher, and friend."
Was Moteuczoma really as weak as history portrayed him? As Susan D. Gillespie instead suggests in "Blaming Moteuczoma," the representation of Moteuczoma as a scapegoat for the Aztec defeat can be understood as a product of indigenous resistance and accommodation following the imposition of Spanish colonialism. Chapters address the various roles (real and imagined) of Moteuczoma, Cortés, and Malinche in the fall of the Aztecs; the representation of history in colonial art; and the complex cultural transformations that actually took place.
Including full-color reproductions of seventeenth-century paintings of the Conquest, Invasion and Transformation will appeal to scholars and students of Latin American history and anthropology, art history, colonial literature, and transatlantic studies. Contributors include Rebecca P. Brienen, Louise M. Burkhart, Ximena Chávez Balderas, Constance Cortez, Viviana Diáz Balsera, Martha Few, Susan D. Gillespie, Margaret A. Jackson, Diana Magaloni Kerpel, Matthew Restall, Michael Schreffler.
In The Invasion of Indian Country in the 20th Century, Donald Fixico details the course of this struggle, providing a wealth of information on the resources possessed by individual tribes and the way in which they were systematically defrauded and stripped of these resources. Fixico contends that federal policies originally devised to protect Indian interests ironically worked against the Indian nations as the tribes employed new tactics with the Council of Energy Resources Tribes, using the law in courts and applying aggressive business leadership to combat the capitalist invasion by mainstream America.
Fixico's analysis of this war being waged throughout the century and today serves as an indispensable reference tool for anyone interested in Native American history and current government policy with regard to Indian lands.
In 1913, the Peter Bent Brigham Hospital in Boston admitted its first patient, Mary Agnes Turner, who suffered from varicose veins in her legs. The surgical treatment she received, under ether anesthesia, was the most advanced available at the time. At the same hospital fifty years later, Nicholas Tilney—then a second-year resident—assisted in the repair of a large aortic aneurysm. The cutting-edge diagnostic tools he used to evaluate the patient’s condition would soon be eclipsed by yet more sophisticated apparatus, including minimally invasive approaches and state-of-the-art imaging technology, which Tilney would draw on in pioneering organ transplant surgery and becoming one of its most distinguished practitioners.
In Invasion of the Body, Tilney tells the story of modern surgery and the revolutions that have transformed the field: anesthesia, prevention of infection, professional standards of competency, pharmaceutical advances, and the present turmoil in medical education and health care reform. Tilney uses as his stage the famous Boston teaching hospital where he completed his residency and went on to practice (now called Brigham and Women's). His cast of characters includes clinicians, support staff, trainees, patients, families, and various applied scientists who push the revolutions forward.
While lauding the innovations that have brought surgeons' capabilities to heights undreamed of even a few decades ago, Tilney also previews a challenging future, as new capacities to prolong life and restore health run headlong into unsustainable costs. The authoritative voice he brings to the ancient tradition of surgical invasion will be welcomed by patients, practitioners, and policymakers alike.
When the first television was demonstrated in 1927, a headline in The New York Times read, “Like a Photo Come to Life.” It was a momentous occasion. But the power of television wasn’t fully harnessed until the 1950s, when the medium was, as Eric Burns says, “At its most preoccupying, its most life-altering.” And Burns, a former NBC News correspondent who is an Emmy-winner for his broadcast writing, knows about the impact of television.
Invasion of the Mind Snatchers chronicles the influence of television that was watched daily by the baby boomer generation. As kids became spellbound by Howdy Doody and The Ed Sullivan Show, Burns reveals, they often acted out their favorite programs. Likewise, they purchased the merchandise being promoted by performers, and became fascinated by the personalities they saw on screen, often emulating their behavior. It was the first generation raised by TV and Burns looks at both the promise of broadcasting as espoused by the inventors, and how that promise was both redefined and lost by the corporations who helped to spread the technology.
Yet Burns also contextualizes the social, cultural, and political events that helped shape the Fifties—from Sputnik and the Rosenberg trial to Senator Joseph McCarthy’s Red Scare. In doing so, he charts the effect of television on politics, religion, race, and sex, and how the medium provided a persuasive message to the young, impressionable viewers.
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