Choice 评论
Dilworth (English, Long Island Univ.) writes about the Southwest in the American imagination. A region rich in history stretching back at least to human emergence into a world bordered by the Four Sacred Mountains, it also received the footsteps of Spaniards and North Africans half a century and more before a few doughty Englishmen of legend ventured onto Virginia's malarial shore. By the 1920s (though the author insists that it was much earlier) and largely through the efforts of writers, anthropologists, and boosters for the Santa Fe Railroad, Euramericans became enchanted with American Indian cultures of the Southwest. The cultural uncertainty that stretched into the next decade marked by economic depression allowed for an armistice to be reached in the government's relentless war on Indian religions. Dilworth masterfully explores the creation and legacy of the early-20th-century myth of primitivism in the Americam encounter with its "vanishing race." Building on the work of Rayna Green, George Stocking, and Curtis M. Hinsley Jr., Dilworth chronicles how the Southwest and its Indian peoples (the Hispanic Southwest remains matter largely unexplored) have been perceived as kind of American "Orient." General readers; upper-division undergraduates and above. L. G. Moses; Oklahoma State University
《图书馆杂志》(Library Journal )书评
With the advent of the railroads, Americans flocked to the Southwest. Visitors were fascinated by the Native cultures, particularly those of the Pueblos, seeing in their "primitive" societies values lost to the mainstream industrialized culture. Dilworth (English, Long Island Univ.) contends that tourists, collectors, and anthropologists alike re-created the image of the Native societies to conform to Euro-American primitivist ideals. In exploring this thesis, Dilworth evaluates turn-of-the-century descriptions of the Hopi Snake Dance and discusses the crucial role played by the Fred Harvey Company in exploitation of these cultures. Arguing that Native realities were marginalized by those who purported to describe them, the author includes a consideration of two contemporary artists, Pueblo poet and sculptor Nora Naranjo-Morse and Hopi photographer Victor Masayesva, who re-create the Native-white exchange from a Native point of view. This thoughtful study merits inclusion in most collections.Mary B. Davis, Huntington Free Lib., N.Y. (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.