Historians of midwestern railroading during the early part of the twentieth century have generally focused on the production of railroad company histories while ignoring the regional view. Fortunately for railway historians and buffs, coincidentally with the zenith of the Railway Age, the national fad for producing and mailing postcards was at its height. Millions of cards, including "real-photo" images, were produced between 1905 and 1915. Roger Grant has selected more than a hundred representative picture postcards to visualize the principal themes and characteristics that gave this dynamic industry its distinctive regional features.

By the turn of the century, the railroad map of the Midwest was unequaled. Anyone who examined it carefully sensed that this was the vital center of America's massive network of steel rails. Depots erected in the western prairie environment were spartan, with only minor decoration, but those in the Midwest usually mirrored more ornate New England styles. These features are often reflected in the images in this heavily illustrated book, which depicts the spare but strong pioneering spirit of the enterprise.

The Photographic Record of the First Wide-Scale Mechanization of War
Over the course of the first half of the nineteenth century, America would find itself following two increasingly divergent tracks: an industrialized North and an agricultural South. By 1860 railroads were firmly entrenched in our culture, reshaping our cities and steering us through the industrial age towards worldwide prominence. From sleepy post towns to the largest east coast cities, the distant hooting of the locomotive whistle drew ever closer and louder, filling listeners with fascination while brightening the eyes of profit-driven industrialists. But this admirable invention, lavishly adorned in brass and iron trimmings, was about to take on a new and deadly role. America’s regional differences would result in a spectacular collision over slavery, and between 1861–1865, the nation fought a savage war. The “iron horse” became a major weapon in the first war fully dependent on railroads. Moreover railroads would escalate and prolong the war, leading to its terrible carnage. Trains were used to move troops rapidly and over great distances, completely changing military strategy. Trains were also used as mobile artillery, armed with large-caliber cannons that could pound cities and fortifications. Trains were a crucial means for supplying the armies on both sides, and it was the severing of the railway lines providing food and munitions to the Army of Northern Virginia that led to Robert E. Lee’s surrender at Appomattox Court House.

In Railroads of the Civil War: An Illustrated History, Michael Leavy uses compelling period photographs and drawings and a rich narrative to reevaluate and illuminate the role of railroads in the Civil War. In addition to identifying details about the various trains and ancillary equipment and buildings in the illustrations, the author explains how trains influenced the outcome of battles and the war in general. 

The name Black Hawk permeates the built environment in the upper midwestern United States. It has been appropriated for everything from fitness clubs to used car dealerships. Makataimeshekiakiak, the Sauk Indian war leader whose name loosely translates to “Black Hawk,” surrendered in 1832 after hundreds of his fellow tribal members were slaughtered at the Bad Axe Massacre.
Re-Collecting Black Hawk examines the phenomena of this appropriation in the physical landscape, and the deeply rooted sentiments it evokes among Native Americans and descendants of European settlers. Nearly 170 original photographs are presented and juxtaposed with texts that reveal and complicate the significance of the imagery. Contributors include  tribal officials, scholars, activists, and others including George Thurman, the principal chief of the Sac and Fox Nation and a direct descendant of Black Hawk. These image-text encounters offer visions of both the past and present and the shaping of memory through landscapes that reach beyond their material presence into spaces of cultural and political power. As we witness, the evocation of Black Hawk serves as a painful reminder, a forced deference, and a veiled attempt to wipe away the guilt of past atrocities. Re-Collecting Black Hawk also points toward the future. By simultaneously unsettling and reconstructing the midwestern landscape, it envisions new modes of peaceful and just coexistence and suggests alternative ways of inhabiting the landscape.

Before publishing his pioneering book How the Other Half Lives—a photojournalistic investigation into the poverty of New York’s tenement houses, home to three quarters of the city’s population—Jacob Riis (1849-1914) spent his first years in the United States as an immigrant and itinerant laborer, barely surviving on his carpentry skills until he landed a job as a muckraking reporter. These early experiences provided Riis with an understanding of what it was like to be poor in the immigrant communities that populated New York’s slums, and it was this empathy that would shine through in his iconic photos.

With Rediscovering Jacob Riis, art historian Bonnie Yochelson and historian Daniel Czitrom place Jacob Riis’s images in historical context even as they expose a clear sightline to the present. In the first half of their book, Czitrom explores Riis’s reporting and activism within the gritty specifics of Gilded Age New York: its new immigrants, its political machines, its fiercely competitive journalism, its evangelical reformers, and its labor movement. In delving into Riis’s intellectual education and the lasting impact of How the Other Half Lives, Czitrom shows that though Riis argued for charity, not sociopolitical justice, the empathy that drove his work continues to inspire urban reformers today.
In the second half of the book, Yochelson describes for the first time Riis’s photographic practice: his initial reliance on amateur photographers to take the photographs he needed, his own use of the camera, and then his collecting of photographs by professionals, who by 1900 were documenting social reform efforts for government agencies and charities. She argues that while Riis is rightly considered a revolutionary in the history of photography, he was not a photographic artist. Instead, Riis was a writer and lecturer who first harnessed the power of photography to affect social change.

As staggering inequality continues to be an urgent political topic, this book, illustrated with nearly seventy of Riis’s photographs, will serve as a stunning reminder of what has changed, and what has not.

On any night in early June, if you stand on the right beaches of America’s East Coast, you can travel back in time all the way to the Jurassic. For as you watch, thousands of horseshoe crabs will emerge from the foam and scuttle up the beach to their spawning grounds, as they’ve done, nearly unchanged, for more than 440 million years.

Horseshoe crabs are far from the only contemporary manifestation of Earth’s distant past, and in Relics, world-renowned zoologist and photographer Piotr Naskrecki leads readers on an unbelievable journey through those lingering traces of a lost world. With camera in hand, he travels the globe to create a words-and-pictures portrait of our planet like no other, a time-lapse tour that renders Earth’s colossal age comprehensible, visible in creatures and habitats that have persisted, nearly untouched, for hundreds of millions of years.

Naskrecki begins by defining the concept of a relic—a creature or habitat that, while acted upon by evolution, remains remarkably similar to its earliest manifestations in the fossil record. Then he pulls back the Cambrian curtain to reveal relic after eye-popping relic: katydids, ancient reptiles, horsetail ferns, majestic magnolias, and more, all depicted through stunning photographs and first-person accounts of Naskrecki’s time studying them and watching their interactions in their natural habitats. Then he turns to the habitats themselves, traveling to such remote locations as the Atewa Plateau of Africa, the highlands of Papua New Guinea, and the lush forests of the Guyana Shield of South America—a group of relatively untrammeled ecosystems that are the current end point of staggeringly long, uninterrupted histories that have made them our best entryway to understanding what the prehuman world looked, felt, sounded, and even smelled like.

The stories and images of Earth’s past assembled in Relics are beautiful, breathtaking, and unmooring, plunging the reader into the hitherto incomprehensible reaches of deep time. We emerge changed, astonished by the unbroken skein of life on Earth and attentive to the hidden heritage of our planet’s past that surrounds us. 

Barbie Zelizer reveals the unique significance of the photographs taken at the liberation of the concentration camps in Germany after World War II. She shows how the photographs have become the basis of our memory of the Holocaust and how they have affected our presentations and perceptions of contemporary history's subsequent atrocities. Impressive in its range and depth and illustrated with more than 60 photographs, Remembering to Forget is a history of contemporary photojournalism, a compelling chronicle of these unforgettable photographs, and a fascinating study of how collective memory is forged and changed.

"[A] fascinating study. . . . Here we have a completely fresh look at the emergence of photography as a major component of journalistic reporting in the course of the liberation of the camps by the Western Allies. . . . Well written and argued, superbly produced with more photographs of atrocity than most people would want to see in a lifetime, this is clearly an important book."—Omer Bartov, Times Literary Supplement

With their cameras and notebooks in hand, photographers Sabine Schmidt and Don House embarked on an ambitious project to document the libraries committed to serving Arkansas’s smallest communities. Remote Access is the culmination of this fascinating three-year effort, which took the artists to every region of their home state.

Schmidt’s carefully constructed color images of libraries and the communities they serve and House’s rich black-and-white portraits of library patrons and staff shine alongside the authors’ personal essays about their experiences. The pages here come alive with a deep connection to Arkansas’s history and culture as we accompany the authors on visits to a section of the Trail of Tears near Parkin, to the site of the tragic 1959 fire at the Arkansas Negro Boys Industrial School in Wrightsville, and to Maya Angelou’s childhood home in Stamps, among many other significant destinations.

Through this testament to the essential role of libraries in the twenty-first century, Schmidt and House have created a clear-eyed portrait of contemporary rural life, delving into issues of race, politics, gender, and isolation as they document the remarkable hard work and generosity put forth in community efforts to sustain local libraries.

Riders for God takes us into a world generally inaccessible to outsiders, one situated at the crossroads of two seemingly incongruous realms: motorcycle gangs and Spirit-filled Christianity.
 
Founded by a former biker and located in southern Indiana, the Unchained Gang is a group of former outlaw bikers, ex-convicts, and recovering addicts who are now born-again Christians. Although they have given up drugs, alcohol, tobacco, and violence they have kept their motorcycles--which they consider to be anointed--and use them as tools in their witness of the word of God as they understand it. The Unchained Gang is an outreach ministry, going into prisons and jails, biker rallies, and other places where people on the fringe are often ignored by other churches and the rest of society.
 
Combining powerful photographic images with gang members' first-person testimonies, Rich Remsberg shows the ironic juxtaposition of tattoos, leather vests, and the iconography of the biker world with the Christian practices of Bible study, speaking in tongues, and praying at an altar. He explores the lives of men and women who have redirected the extreme nature of their former ways.
 
Through their own powerful stories, they explain how the addictions and uncontrollable violence that once shaped their lives have given way to dramatic worship and zealous ministry.
 
An afterword by Colleen McDannell situates the Unchained Gang's
interpretation of Christian living in the larger constellation of pentecostal, born-again, fundamentalist, and mainstream churches.
 

Desolation Canyon is one of the West's wild treasures. Visitors come to study, explore, run the river, and hike a canyon that is deeper at its deepest than the Grand Canyon, better preserved than most of the Colorado River system, and full of eye-catching geology-castellated ridges, dramatic walls, slickrock formations, and lovely beaches. Rafting the river, one may see wild horses, blue herons, bighorn sheep, and possibly a black bear. Signs of previous people include the newsworthy, well-preserved Fremont Indian ruins along Range Creek and rock art panels of Nine Mile Canyon, both Desolation Canyon tributaries. Historic Utes also pecked rock art, including images of graceful horses and lively locomotives, in the upper canyon. Remote and difficult to access, Desolation has a surprisingly lively history. Cattle and sheep herding, moonshine, prospecting, and hideaways brought a surprising number of settlers--ranchers, outlaws, and recluses--to the canyon.