Making the case for a new kind of visual history, The Goddess and the Nation charts the pictorial life and career of Bharat Mata, “Mother India,” the Indian nation imagined as mother/goddess, embodiment of national territory, and unifying symbol for the country’s diverse communities. Soon after Mother India’s emergence in the late nineteenth century, artists, both famous and amateur, began to picture her in various media, incorporating the map of India into her visual persona. The images they produced enabled patriotic men and women in a heterogeneous population to collectively visualize India, affectively identify with it, and even become willing to surrender their lives for it. Filled with illustrations, including 100 in color, The Goddess and the Nation draws on visual studies, gender studies, and the history of cartography to offer a rigorous analysis of Mother India’s appearance in painting, print, poster art, and pictures from the late nineteenth century to the present.

By exploring the mutual entanglement of the scientifically mapped image of India and a (Hindu) mother/goddess, Sumathi Ramaswamy reveals Mother India as a figure who relies on the British colonial mapped image of her dominion to distinguish her from the other goddesses of India, and to guarantee her novel status as embodiment, sign, and symbol of national territory. Providing an exemplary critique of ideologies of gender and the science of cartography, Ramaswamy demonstrates that images do not merely reflect history; they actively make it. In The Goddess and the Nation, she teaches us about pictorial ways of learning the form of the nation, of how to live with it—and ultimately to die for it.

"The earth is my mother, and on her bosom I shall repose."

Attributed to Tecumseh in the early 1800s, this statement is frequently cited to uphold the view, long and widely proclaimed in scholarly and popular literature, that Mother Earth is an ancient and central Native American figure. In this radical and comprehensive rethinking, Sam D. Gill traces the evolution of female earth imagery in North America from the sixteenth century to the present and reveals how the evolution of the current Mother Earth figure was influenced by prevailing European-American imagery of America and the Indians as well as by the rapidly changing Indian identity.

Gill also analyzes the influential role of scholars in creating and establishing the imagery that underlay the recent origins of Mother Earth and, upon reflection, he raises serious questions about the nature of scholarship.

"Mother Earth might be modern, stressing the supposed biological ground of native life and its rich mythic tradition, but it hardly frees the native people from their long, lamentable involvement with the white man. For making this point clear, Gill deserves high praise."—Bernard W. Sheehan, Journal of the American Academy of Religion

"In one of the finest studies of recent years we have an ambitious attempt to satisfy scholar, Native American, popular reader, and truth."—Thomas McElwain, Western Folklore