Results by title

American landscape painter Mary Sipp Green, based in the bucolic Berkshire Hills of Massachusetts, has a superlative ability to engage the viewer in the emotive atmosphere of her landscapes and seascapes. The intensely saturated colors in her works evoke an immediate sense of place and a unique perspective on an intimate tableau. Sipp Green achieves an ethereal, nuanced quality in her paintings that imparts a refined and inimitable serenity. In Every Hour of the Light: The Paintings of mary Sipp Green, many of the subjects she paints—salt marshes, barns, meadows, rivers, and the occasional cityscape—are captured in the exquisite twilight of early evenings or a luminescent sunrise. The effect is dreamy yet grounded and familiar.

Sipp Green states, "While my preferred medium has always been oil on linen, my methods, techniques, and aesthetic aims have all undergone significant transformations since I first began. I learned my craft in the studio, painting still lifes and portraits, as well as landscapes drawn directly from nature. Over time, I became increasingly engaged with more abstract and spiritual aspects of the landscape form and I began to pursue a less representational, more expressive style." When describing her "diffuse quality of color," she explains, "I use many layers of paint, allowing each to dry before the next is applied. Along the way, the surface of the paint is often refigured in unpredictable ways, and there is much that has to be scraped, sanded, destroyed and reapplied before the essence of a place, its mood and atmosphere, finally emerges onto the canvas."

Indian trader, rancher, harbor developer, oil impresario—these are the many worlds of one of the least chronicled but most fascinating characters of the American West. In the early, bustling years of the frontier, a brazen young man named William McDole Lee moved from Wisconsin to Kansas and then to Texas to forge a life for himself. Becoming a driving entrepreneurial force in Texas's development, Lee soon garnered the alliances and resources necessary to shape the financial destinies of disparate groups throughout the state. His story is expertly told in Donald F. Schofield's Indians, Cattle, Ships, and Oil.

Beginning in 1869 as a trader to the southern Cheyenne and Arapaho tribes and fort provisioner to troops garrisoned at Camp Supply, Indian Territory, Lee gained a partner and amassed a fortune in short order from trading buffalo hides and robes. Vast herds of buffalo grazing on the southern plains were killed largely on his order. When buffalo were no longer a profitable commodity, Lee tackled his next challenge—the cattle trade.

He began with herds branded LR that grazed on pastures near Fort Supply. Then came his LE herd in the Texas Panhandle. Another partnership, with noted cattle rancher Lucien Scott, resulted in the vast LS ranch, one of the most successful operations of its day. Lee even introduced a new breed of cattle, the Aberdeen-Angus, to the western range. But as his partnership faded, Lee moved on to his next undertaking—the development of Texas' first deep-water harbor.

In 1888, Lee and other financiers put up one million dollars to finance a dream: opening international trade from the waters of the Gulf of Mexico to the mainland at the mouth of the Brazos River. Their Brazos River Channel and Dock Company was to construct, own, and operate a deep-water harbor at Velasco, with a railroad link to Houston. Though threats of financial disaster loomed large, the Velasco facility was to welcome, in its day, tugs, barges, and three-masted schooners and to provide impetus for Houston's boom. Yet with success, the mercurial Lee turned to yet another challenge—oil.

Starting still another partnership, Lee committed himself to prospecting for oil on the West Columbia Ridge in Brazoria County. Lee and crew struck oil in 1907, developing one of the first producing wells of Brazoria County, but inadequate drilling equipment hampered further fruitful exploration. Lee moved his rigs to the famed Spindletop, where he perfected the technique of shallow drilling. Though spectacular success in the oil business eluded him, Lee's accomplishments set him squarely among the great entrepreneurs of the Texas oil industry.

Lee's exploits led him to roles in some of the most dramatic moments in Texas and the West—Indian uprisings, buffalo hunts, political scandals, cowboy strikes and shoot-outs, railroad promotions, oil-well blow-outs and gushers. The people he encountered are the famous and infamous of western history: Cheyenne Chief Little Robe and the outlaw "Hurricane Bill" Martin; Indian Agent John D. Miles and Major General John Pope; outlaws Tom Harris and William Bonney, and Sheriff Pat Garrett. Altogether, Lee's biography vividly shows one man's manipulation of people and events during the settlement of the American frontier.

Oil is one of the world’s most important commodities, but few people know how its extraction affects the residents of petroleum-producing regions. In the 1960s, the Texaco corporation discovered crude in the territory of Ecuador’s indigenous Cofán nation. Within a decade, Ecuador had become a member of OPEC, and the Cofán watched as their forests fell, their rivers ran black, and their bodies succumbed to new illnesses. In 1993, they became plaintiffs in a multibillion-dollar lawsuit that aims to compensate them for the losses they have suffered. Yet even in the midst of a tragic toxic disaster, the Cofán have refused to be destroyed. While seeking reparations for oil’s assault on their lives, they remain committed to the survival of their language, culture, and rainforest homeland.

Life in Oil presents the compelling, nuanced story of how the Cofán manage to endure at the center of Ecuadorian petroleum extraction. Michael L. Cepek has lived and worked with Cofán people for more than twenty years. In this highly accessible book, he goes well beyond popular and academic accounts of their suffering to share the largely unknown stories that Cofán people themselves create—the ones they tell in their own language, in their own communities, and to one another and the few outsiders they know and trust. Their words reveal that life in oil is a form of slow, confusing violence for some of the earth’s most marginalized, yet resilient, inhabitants.

For decades, Mexico has been one of the world’s top non-OPEC oil exporters, but since the 2004 peak and subsequent decline of the massive offshore oilfield—Cantarell—the prospects for the country have worsened. Living with Oil takes a unique look at the cultural and economic dilemmas in this locale, focusing on residents in the fishing community of Isla Aguada, Campeche, who experienced the long-term repercussions of a 1979 oil spill that at its height poured out 30,000 barrels a day, a blowout eerily similar to the 2010 Deepwater Horizon disaster.

Tracing the interplay of the global energy market and the struggle it creates between citizens, the state, and multinational corporations, this study also provides lessons in the tug-of-war between environmentalism and the lure of profits. In Mexico, oil has held status as a symbol of nationalist pride as well as a key economic asset that supports the state’s everyday operations. Capturing these dilemmas in a country now facing a national security crisis at the hands of violent drug traffickers, cultural anthropologist Lisa Breglia covers issues of sovereignty, security, and stability in Mexico’s post-peak future.

The first in-depth account of the local effects of peak oil in Mexico, emphasizing the everyday lives and livelihoods of coastal Campeche residents, Living with Oil demonstrates important aspects of the political economy of energy while showing vivid links between the global energy marketplace and the individual lives it affects.

In 1933 American oilmen representing what later became the Arabian American Oil Company (Aramco) signed a concession agreement with the Saudi Arabian king granting the company sole proprietorship over the oil reserves in the country's largest province. As drilling commenced and wells proliferated, Aramco soon became a major presence in the region. In this book Chad H. Parker tells Aramco's story, showing how an American company seeking resources and profits not only contributed to Saudi “nation building” but helped define U.S. foreign policy during the early Cold War.

In the years following World War II, as Aramco expanded its role in Saudi Arabia, the idea of “modernization” emerged as a central component of American foreign policy toward newly independent states. Although the company engaged in practices supportive of U.S. goals, its own modernizing efforts tended to be pragmatic rather than policy-driven, more consistent with furthering its business interests than with validating abstract theories. Aramco built the infrastructure necessary to extract oil and also carved an American suburb out of the Arabian desert, with all the air-conditioned comforts of Western modern life. At the same time, executives cultivated powerful relationships with Saudi government officials and, to the annoyance of U.S. officials, even served the monarchy in diplomatic disputes. Before long the company became the principal American diplomatic, political, and cultural agent in the country, a role it would continue to play until 1973, when the Saudi government took over its operation.

As the twentieth century began, oil in Texas was easy to find, but the quantities were too small to attract industrial capital and production. Then, on January 10, 1901, the Spindletop gusher blew in. Over the next fifty years, oil transformed Texas, creating a booming economy that built cities, attracted out-of-state workers and companies, funded schools and universities, and generated wealth that raised the overall standard of living—even for blue-collar workers. No other twentieth-century development had a more profound effect upon the state.

In this book, Roger M. Olien and Diana Davids Hinton chronicle the explosive growth of the Texas oil industry from the first commercial production at Corsicana in the 1890s through the vital role of Texas oil in World War II. Using both archival records and oral histories, they follow the wildcatters and the gushers as the oil industry spread into almost every region of the state. The authors trace the development of many branches of the petroleum industry—pipelines, refining, petrochemicals, and natural gas. They also explore how overproduction and volatile prices led to increasing regulation and gave broad regulatory powers to the Texas Railroad Commission.

Mexico was second only to the United States as the world's largest oil producer in the years following the Mexican Revolution. As the revolutionary government became institutionalized, it sought to assure its control of Mexico's oil resources through the Constitution of 1917, which returned subsoil rights to the nation. This comprehensive study explores the resulting struggle between oil producers, many of which were U.S. companies, and the Mexican government.

Linda Hall goes beyond the diplomacy to look at the direct impact of a powerful, highly profitable foreign-controlled industry on a government and a nation trying to recover from a major civil war. She draws on extensive research in Mexican archives, including both government sources and the private papers of Presidents Alvaro Obregón and Plutarco Elías Calles, as well as U.S. government and private sources.

Since the North American Free Trade Agreement has expanded United States business ties to Mexico, this study of a crucial moment in U.S.-Mexican business relations will be of interest to a wide audience in business, diplomatic, and political history.

2026 PROSE Award Finalist, Humanities: Literature

Petroforms contributes a much-needed theory of form and genre to the cutting-edge field of petrocriticism, itself an offshoot of developments in postcolonial ecocriticism. Studies of resource fiction and inquiries in the energy humanities have recently taken their rightful place as necessary reflections on the role of the literary imagination in intervening in the Anthropocene as we find ourselves precariously placed in the face of a fossil fuel crisis, climate change, and mass extinctions.

With Petroforms, Helen Kapstein undertakes close readings of a range of Nigerian aesthetic forms: short stories, romance novels, documentary film, the “Nollywood” film industry, fine art sculpture, and poetry. She uses these forms to argue that the demands of paying attention to petroleum extraction, production, consumption, and distribution in the creation of resource fictions must necessarily alter and affect conventional forms and structures. What results is a new set of genre-bending forms, like documentary film that we can read as horror, in response to the forceful and fluid demands of the petroleum industry and its master narrative.
Nigeria is one of the world’s largest oil-producing nations, in which that production is concentrated in the Niger Delta, resulting in a local environment that has been steadily degraded by oil spills, flares, pollution, and contamination, and a local culture shaped by false scarcity in a space of abundance, murderous politics, and escalating violence. At the same time as the Niger Delta grounds Kapstein’s argument in its own political realities and cultural responses, Nigeria’s participation in a global economy of petrodependency allows her theory of petroforms to be extended and applied more generally.

What Peter Hitchcock calls “oil’s generative law” is that it is “everywhere and obvious, it must be opaque or otherwise fantastic.” He means the coexistence of oil’s taken-for-granted qualities is something constitutive of every level of everyday life and its spectacular displays—gushers, spills, explosions. Oil’s nature, the fact that it is everywhere, unctuously oozing into every corner of everyday life, means that it constantly spills over out of our existing forms, genres, and systems, demanding accommodation. To try to contain it, we create new forms. Thus, a petroform is simultaneously reactionary (a necessary response to oil’s pressures, a by-product of the commodity itself) and resistant (an attempt at containment, at generating a retort to the very thing that shapes it). Each form figures oil and then configures and reconfigures itself in reaction to it.

2025 Margaret Mead Award, Society for Applied Anthropology (SfAA) and the American Anthropological Association (AAA)

An ethnography of the Ecuadorian Amazon that demonstrates the need for a relational, place-based, contingent understanding of harm and toxicity.

Reckoning with Harm is a striking ethnographic analysis of the harm resulting from oil extraction. Covering fifty years of settler colonization and industrial transformation of the Ecuadorian Amazon, Amelia Fiske interrogates the relations of harm. She moves between forest-courtrooms and oily waste pits, farms and toxic tours, to explore both the ways in which harm from oil is entangled with daily life and the tensions surrounding efforts to verify and redress it in practice. Attempts to address harm from the oil industry in Ecuador have been consistently confounded by narrow, technocratic understandings of evidence, toxicity, and responsibility. Building on collaborators’ work to contest state and oil company insistence that harm is controlled and principally chemical in nature, Fiske shows that it is necessary to refigure harm as relational in order to reckon with unremediated contamination of the past while pushing for broad forms of accountability in the present. She theorizes that harm is both a relationship and an animating feature of relationships in this place, a contingent understanding that is needed to contemplate what comes next when living in a toxic world.

Written from aesthetic, sociopolitical, cultural, and literary perspectives, The Cultured Canvas explores myriad ways in which American visual culture can be evaluated through newly conceived thematic and ideological approaches. This book moves beyond our accepted notion of the oil painting on canvas to consider the term as both a literal and figurative surface upon which artists construct or construe the landscape as an intellectual, cultural, or physical entity. It provides an innovative reevaluation of traditional thought concerning the Hudson River School, Luminism, and artists of the Civil War era.

As interdisciplinary emphases are employed with increasing frequency in arts and humanities courses, the breadth and depth of topics covered in this collection will provide a much-needed text for scholars in American art history, nineteenth-century American studies, and landscape studies, in addition to serving as a complement to courses in American literature and culture.

Hardcover is un-jacketed.