The phrase "southwestern US/northwestern Mexico archaeology" tends to evoke images of multistoried villages and cliff dwellings. But on the eastern periphery of the Southwest, where mesas and mountains give way to vast grasslands, other types of villages once thrived. In this volume, archaeologists Jamie Clark and John Speth document the lives and lifeways of the people who inhabited two of these villages: Henderson and Bloom Mound. The villagers hunted bison on the plains and exchanged meat and hides with Puebloan peoples for pottery, turquoise, marine shells, and other goods. The origins of these close social and economic ties between bison hunters and village farmers, often referred to as “Plains-Pueblo interaction,” have intrigued anthropologists for generations. The excavations at Henderson and Bloom Mound provide fascinating new insights into when, how, and why these relationships came about.

Summarizing results from eight seasons of research, Clark and Speth document human burials and associated grave offerings from the two sites. They discuss evidence for pathologies and trauma, raising questions about the nature and causes of violence that led to the demise of Henderson and Bloom Mound, and the abandonment of many other farming-hunting communities in the surrounding region.
 

Winner, Society for American Archaeology Book Award, 2017
San Antonio Conservation Society Publication Award, 2019

The prehistoric hunter-gatherers of the Lower Pecos Canyonlands of Texas and Coahuila, Mexico, created some of the most spectacularly complex, colorful, extensive, and enduring rock art of the ancient world. Perhaps the greatest of these masterpieces is the White Shaman mural, an intricate painting that spans some twenty-six feet in length and thirteen feet in height on the wall of a shallow cave overlooking the Pecos River. In The White Shaman Mural, Carolyn E. Boyd takes us on a journey of discovery as she builds a convincing case that the mural tells a story of the birth of the sun and the beginning of time—making it possibly the oldest pictorial creation narrative in North America.

Unlike previous scholars who have viewed Pecos rock art as random and indecipherable, Boyd demonstrates that the White Shaman mural was intentionally composed as a visual narrative, using a graphic vocabulary of images to communicate multiple levels of meaning and function. Drawing on twenty-five years of archaeological research and analysis, as well as insights from ethnohistory and art history, Boyd identifies patterns in the imagery that equate, in stunning detail, to the mythologies of Uto-Aztecan-speaking peoples, including the ancient Aztec and the present-day Huichol. This paradigm-shifting identification of core Mesoamerican beliefs in the Pecos rock art reveals that a shared ideological universe was already firmly established among foragers living in the Lower Pecos region as long as four thousand years ago.