by André Bleikasten, translated from the French by Miriam Watchorn with the collaboration of Roger Little
It would be a grave mistake for anyone trying to understand race in American history to overlook the novels of William Faulkner. Beneath their literary complexity can be found the clearest statement by anyone of the core abuse that has driven black–white conflict since slavery times, but first you have …
by Werner and Elisabeth Heisenberg, edited by Anna Maria Hirsch-Heisenberg and translated from the German by Irene Heisenberg.
When they were separated by Heisenberg’s scientific travels or the war itself, Elisabeth and Werner exchanged more than three hundred letters that survived the fighting. Both later wrote accounts of the war years, but their letters, filled with the worries and hopes of ordinary family life, offer a quieter, more intimate picture of the years when Heisenberg ran the program that was going nowhere. Husband and wife both knew that the German secret police were free to open and read their letters at will, and tried to avoid dangerous ground.
Custer’s Trials: A Life on the Frontier of a New America
by T.J. Stiles.
The nineteenth-century cavalry officer George Armstrong Custer, who was a general at twenty-three and dead at thirty-six, has probably been the subject of more books than any other American, Lincoln excepted. All until now move swiftly through the brilliant feats of arms of the Civil War career that made Custer …
Garrett Price, who drew hundreds of cartoons and a hundred covers for The New Yorker, also created a long-forgotten comic strip called White Boy, now republished in its entirety. The hero was just that, a slender, nameless lad who left everything familiar when he was captured by Indians, given to a woman whose own son had been killed by whites, and adopted into the tribe.
The warring life of the Northern Plains tribes that resisted white invasion in the 1860s is the subject of A Lakota War Book from the Little Bighorn: The Pictographic “Autobiography of Half Moon.” The book is a collection of seventy-seven Lakota and Cheyenne drawings, accompanied by extensive analysis and commentary by the social anthropologist Castle McLaughlin. It will be published next year by Harvard’s Houghton Library, where the drawings were stored but little noticed for eighty years. What sets these drawings apart from others of their kind is the persuasive argument made by McLaughlin that most of the drawings, and the book as a whole, represent an Indian account of episodes during the conflict known as “Red Cloud’s War” (1866–1868), and that it may be possible to identify three of the artists.
“Hell is full of bears,” says the dramatically hirsute trapper and explorer Stephen Meek in Kelly Reichardt’s recent film about emigrant travelers lost in the arid wastes of eastern Oregon in the summer of 1845. About a thousand waterless miles farther along—miles punctuated by Meek’s muttered complaint—the trapper remarks, “Hell is full of Indians.” But he’s not done yet. “Hell is full of mountains,” Meek notes, in a final report of what he has found in the hell called life that, we are invited to conclude, has included a lot of all three.