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The arrival of Anglo settlers in the 1870s marked the beginning of major vegetation changes in southeastern Arizona, including an increase in woody plants in rangelands, the degradation of riparian wetlands, and the spread of non-native plants. While many of these changes have already been linked to human land-use through comparative photographs and historic descriptions, it has long been presumed that changes in the region's climate have also contributed to vegetation change.

Geographer Conrad Bahre now challenges the view that these vegetation changes are due to climatic change. Correlating his own field research with archival records and photographs, Bahre demonstrates that most of the changes follow some type of human disturbance, such as cattle grazing, fuelwood cutting, wildfire suppression, agriculture, and road construction. Indeed, all available evidence suggests that Anglo settlement brought unprecedented changes to the land.

Vegetation change in the American West has long been an issue of concern. This careful scrutiny of one corner of that region—one of the most ecologically diverse areas of the United States—shows how poorly understood is the relationship between human activities and vegetation. More important, it introduces new techniques for differentiating between natural and anthropogenic factors effecting vegetation change that can be used to help ecologists understand vegetation dynamics worldwide.

Secretary to the Salem witch trials, Cotton Mather is the most reviled of our national historians.  Yet James Russell Lowell admitted that “with all his faults, that conceited old pedant contrived to make one of the most entertaining books ever written on this side of the water.” In America’s Gothic Fiction, Dorothy Z. Baker investigates the ways in which nineteenth-century authors Edgar Allan Poe, Harriet Beecher Stowe, and Nathaniel Hawthorne, among others, look to Mather’s Magnalia Christi Americana at critical moments in their work and refashion his historical accounts as gothic fiction.
 

Cotton Mather’s 1702 Magnalia captured the imagination of its readers more than any other colonial history and impressed Americans with its message of American exceptionalism and God’s dramatic intervention on behalf of the country and its citizens. Poe, Stowe, and Hawthorne, who are rarely grouped together in literary studies, have radically divergent responses to Mather’s theology, historiography, and literary forms. However, each takes up Mather’s themes and forms and, in distinct ways, interrogates the providence tales in Magnalia Christi Americana as foundational statements about American history and identity.

Seldom recognized, yet contributing significantly to the structure of early American modernism is a group of women who were once the art students of the popular and perhaps most influential American art teacher of the twentieth century, Robert Henri (1865-1929). Henri encouraged an art that was expressive of personal emotions and experience and that was grounded in life. He preached equality among different media and approaches to art. Giving heed to his teachings, his women students engaged in a wide variety of artistic production. Collectively, the stunning variety and power of their work in painting, sculpture, printmaking, textiles, decorative arts, and furniture broadens our understanding of American modernism and illuminates the role of women artists in shaping it. Yet, these women have remained largely unstudied, and virtually unknown, even among art historians.

The seven new essays included in this volume move beyond the famed Ashcan School-the small group of Henri's male students who worked in a narrow range of urban realist subjects-to recover the lesser known work of his women students. The contributors, who include well-known scholars of art history, American studies, and cultural studies demonstrate how these women participated in the "modernizing" of women's roles during this era; how gender controlled their art, productivity, sales, and reception; how their many styles, media, and subjects enrich our understanding of modern American art; and how the work of modern women artists relates to women's involvement in other areas of modern American society and culture, including labor and social reform, patronage, literature, dance, and music.

Lavishly illustrated and complemented by short biographies of more than 400 of Henri's students, this delightful collection adds a long-ignored but deserving dimension to an expanded story of American modernism and to women's contributions to the arts.

This book is the first devoted entirely to an examination of working-class activism, broadly defined as that of farmers’ organizations, labor unions, and (often biracial) political movements, in Arkansas during the Gilded Age. On one level, Hild argues for the significance of this activism in its own time: had the Arkansas Democratic Party not resorted to undemocratic, unscrupulous, and violent means of repression, the Arkansas Union Labor Party would have taken control of the state government in the election of 1888. He also argues that the significance of these movements lasted beyond their own time, their influence extending into the biracial Southern Tenant Farmers’ Union of the 1930s, the civil rights movement of the 1950s and 1960s, and even today’s Farmers’ Union and the United Mine Workers of America.

The story of farmer and labor protest in Arkansas during the late nineteenth century offers lessons relevant to contemporary
working-class Americans in what some observers have called the “new Gilded Age.”