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In As We See It, Suzanne Newman Fricke invites readers to explore the work and careers of ten contemporary Native American photographers: Jamison Banks, Anna Hoover, Tom Jones, Larry McNeil, Shelley Niro, Wendy Red Star, Beverly Singer, Matika Wilber, William Wilson, and Tiffiney Yazzie. Inspired by As We See It, an exhibition of these artists' work cocurated by Fricke in 2015, the book showcases the extraordinary achievements of these groundbreaking photographers. As We See It presents dialogues in which the artists share their unique perspectives about the history and current state of photography. Each chapter includes an overview of the photographer's career as well as examples of the artist's work. For added context, Fricke includes an introduction, a preface that explores the original exhibition of the same name, and an essay that challenges the ghost of Edward S. Curtis, whose work serves as a counterpoint to the photography of contemporary Native Americans. The text is designed to be read as a whole or in sections for anyone teaching Native American photography. As We See It is an invaluable addition to the library of anyone interested in Native American photography and will be the key source for teachers, researchers, and lovers of photography for years to come.

Blackdom, New Mexico, was a township that lasted aboutthirty years. In this book, Timothy E. Nelson situates the township's storywhere it belongs: along the continuum of settlement in Mexico's Northern Frontier.Dr. Nelson illuminates the set of conscious efforts that helped Black pioneersdevelop Blackdom Township into a frontier boomtown. "Blackdom" started as an inherited idea of a nineteenth-centuryAfrotopia. The idea of creating a Blackdom was refined within Blackinstitutions as part of the perpetual movement of Black Colonization. In 1903,thirteen Black men, encouraged by the 1896 Plessy v. Ferguson decision, formed the BlackdomTownsite Company and set out to make Blackdom a real place in New Mexico, wherethey were outside the reach of Jim Crow laws. Many believed that Blackdom was simply abandoned. However,new evidence shows that the scheme to build generational wealth continued toexist throughout the twentieth century in other forms. During Blackdom's boomtimes,in December 1919, Blackdom Oil Company shifted town business from aregenerative agricultural community to a more extractive model. Nelson hasuncovered new primary source materials that suggest for Blackdom a newlydiscovered third decade. This story has never been fully told or contextualizeduntil now. Reoriented to Mexico's "northern frontier," oneobserves Black ministers, Black military personnel, and Black freemasons whocolonized as part of the transmogrification of Indigenous spaces into theAmerican West. Nelson's concept of the Afro-Frontier evokes a "Turnerian West,"but it is also fruitfully understood as a Weberian "Borderland." Its history highlightsa brief period and space that nurtured Black cowboy culture. While Blackdom'scivic presence was not lengthy, its significance--and that of the Afro-Frontier--isan important window in the history of Afrotopias, Black Consciousness, and thenotion of an American West.

In October 1913, 261 miners and two rescuers died when a massive explosion ripped through a mine operated by Phelps, Dodge & Company in Dawson, New Mexico. Ten years later, a second blast claimed the lives of another 120 miners. Today, Dawson is a deserted ghost town. All that remains is a sea of white iron crosses memorializing the nearly four hundred miners killed in the two explosions--a death toll unmatched by mine disasters in any other town in America. Now, to mark the centennial of the second disaster, veteran journalist Nick Pappas tells the tragic story of what was once New Mexico's largest and most modern company town and of how the strong, determined residents of the community coped with two heartbreaking catastrophes.

"You will never know how it feels to have brown skin and a Mexican name. You will never know what it is like to watch your mother struggle with white words." In this collection of prose pieces, author and scholar Emma Pérez explores the intersection of race, class, gender and sexuality. A Chicanx queer lesbian "who honors my mother and her plight within patriarchal institutions" that limit women's choices and opportunities, Pérez writes about issues-including sexual politics and power relations between Anglo and Hispanic men-that have impacted her Tejano family for generations. A historian by training, her work aims to decolonize the Southwest by uncovering voices from the past that validate multiple experiences.Essays reveal the influence of Gloria Anzaldúa's scholarship; recount the controversy surrounding artist Alma López's digital print, "Our Lady," in which the Virgin of Guadalupe appears in a provocative bikini; and evaluate interviews with 25 LGBTQ people in the El Paso/Ciudad Juárez area to expose life on the border as a queer of color. This collection also includes short fiction and an epistolary love poem to the first feminist of the Americas, Sor Juana Inés de la Cruz, or in this case, Sor Juanx. Bringing together the work of a noted Chicanx writer and academic, this volume reinforces the body of work by LGBTQ people of color dealing with racism and sexism, conquest and colonization, power and privilege, all with a particular emphasis on the Southwest borderlands.

National Bestseller   Winner of the 2023 National Book Award in Nonfiction * Finalist for the 2024 Los Angeles Times Book Award in History * Winner of 2024 Anisfield-Wolf Book Award in Nonfiction   Named a best book of 2023 by New Yorker, Esquire, Barnes & Noble   A New York Times Notable Book of 2023 * A Washington Post Notable Work of Nonfiction of 2023 * An NPR "Book We Love" for 2023   "Eloquent and comprehensive. . . . In the book's sweeping synthesis, standard flashpoints of U.S. history take on new meaning."--Kathleen DuVal, Wall Street Journal   "In accounts of American history, Indigenous peoples are often treated as largely incidental--either obstacles to be overcome or part of a narrative separate from the arc of nation-building. Blackhawk . . . [shows] that Native communities have, instead, been inseparable from the American story all along."--Washington Post Book World, "Books to Read in 2023"   A sweeping and overdue retelling of U.S. history that recognizes that Native Americans are essential to understanding the evolution of modern America   The most enduring feature of U.S. history is the presence of Native Americans, yet most histories focus on Europeans and their descendants. This long practice of ignoring Indigenous history is changing, however, as a new generation of scholars insists that any full American history address the struggle, survival, and resurgence of American Indian nations. Indigenous history is essential to understanding the evolution of modern America.   Ned Blackhawk interweaves five centuries of Native and non‑Native histories, from Spanish colonial exploration to the rise of Native American self-determination in the late twentieth century. In this transformative synthesis he shows that * European colonization in the 1600s was never a predetermined success; * Native nations helped shape England's crisis of empire; * the first shots of the American Revolution were prompted by Indian affairs in the interior; * California Indians targeted by federally funded militias were among the first casualties of the Civil War; * the Union victory forever recalibrated Native communities across the West; * twentieth-century reservation activists refashioned American law and policy.   Blackhawk's retelling of U.S. history acknowledges the enduring power, agency, and survival of Indigenous peoples, yielding a truer account of the United States and revealing anew the varied meanings of America.

Throughout the twentieth century, New Mexico?s LGBTQ+ residents inhabited a wide spectrum of spaces, from Santa Fe?s nascent bohemian art scene to the secretive military developments at Los Alamos. Shifting focus away from the urban gay meccas that many out queer people called home, Wide-Open Desert brings to life a vibrant milieu of two-spirit, Chicana lesbian, and white queer cultural producers in the heart of the US Southwest. Jordan Biro Walters draws on oral histories, documentaries, poetry, and archival sources to demonstrate how geographic migration and creative expression enabled LGBTQ+ people to resist marginalization and forge spaces of belonging. Significant figures profiled include two-spirit Diné artist Hastíín Klah, literary magazine editor Spud Johnson, ranchera singer Genoveva Chávez, and Cherokee writer Rollie Lynn Riggs. Biro Walters explores how land communes, art circles, and university classrooms helped create communities that supported queer cultural expression and launched gay civil rights activism in New Mexico. Throughout, Wide-Open Desert highlights queer mobility and queer creative production as paths to political, cultural, and sexual freedom for LGBTQ+ people.