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The Copts, or Egyptian Christians, are a relatively small and tight-knit ethno-religious group, numbering perhaps three thousand people and living mostly in the Detroit metropolitan area. Since they began immigrating to Michigan in the mid-1960s, their community has grown exponentially.
Granted exceptional access to the Coptic community, Eliot Dickinson provides the first in- depth profile of this unique and remarkably successful immigrant group. Drawing on personal interviews to infuse the book with warmth and depth. Copts in Michigan offers readers a compelling view into this vibrant community.
A History of Crop Art and Dairy Sculpture
Teddy Roosevelt’s head sculpted from butter. The Liberty Bell replicated in oranges. The Sioux City Corn Palace of 1891 encased with corn, grains, and grasses and stretching for two city blocks—with a trolley line running down its center. Between 1870 and 1930, from county and state fairs to the world’s fairs, large exhibition buildings were covered with grains, fruits, and vegetables to declare in no uncertain terms the rich agricultural abundance of the United States. At the same fairs—but on a more intimate level—ice-cooled cases enticed fairgoers to marvel at an array of butter sculpture models including cows, buildings, flowers, and politicians, all proclaiming the rich bounty and unending promise held by the region.
Often viewed as mere humorous novelties—fun and folksy, but not worthy of serious consideration—these lively forms of American art are described by Pamela H. Simpson in a fascinating and comprehensive history. From the pioneering cereal architecture of Henry Worrall at the Philadelphia Centennial Exposition to the vast corn palaces displayed in Sioux City, Iowa, and elsewhere between 1877 and 1891, Simpson brings to life these dazzling large-scale displays in turn-of-the-century American fairs and festivals. She guides readers through the fascinating forms of crop art and butter sculpture, as they grew from state and regional fairs to a significant place at the major international exhibitions. The Minnesota State Fair’s Princess Kay of the Milky Way contest, Lillian Colton’s famed pictorial seed art, and the work of Iowa’s “butter cow lady,” Norma “Duffy” Lyon, are modern versions of this tradition.
Beautifully illustrated with a bounty of never-before-seen archival images, Corn Palaces and Butter Queens is an accessible history of one of America’s most unique and beguiling Midwestern art forms—an amusing and peculiar phenomenon that profoundly affected the way Americans saw themselves and their country’s potential during times of drought and great depression.
The Struggle to Build an Outdoor History Museum of Ethnic Architecture
With its charming heirloom gardens, historic livestock breeds, and faithfully recreated farmsteads and villages that span nearly 600 acres, Old World Wisconsin is the largest outdoor museum of rural life in the United States. But this seemingly time-frozen landscape of rustic outbuildings and rolling wooded hills did not effortlessly spring into existence, as John D. Krugler maintains in Creating Old World Wisconsin. As dozens of historic buildings were transported in the 1970s from various locations throughout the state to the Kettle Moraine State Forest, researchers, curators, and volunteers launched a massive preservation initiative to salvage fast-disappearing immigrant and migrant architecture. Researchers, curators, and volunteers created a backdrop against which twenty-first century interpreters demonstrate nineteenth- and early twentieth-century agricultural techniques and artisanal craftsmanship. The site, created and maintained by the Wisconsin Historical Society, offers visitors a unique opportunity to learn about the state's rich and ethnically diverse past through depictions of the everyday lives of its Norwegian, Danish, Finnish, German, Polish, African American, and Yankee inhabitants. Creating Old World Wisconsin chronicles the fascinating and complex origins of this outdoor museum, highlighting the struggles that faced its creators as they worked to achieve their vision. Even as Milwaukee architect and preservationist Richard W. E. Perrin, the Society's staff, and enthusiastic volunteers opened the museum in time for the national bicentennial in 1976, the site was plagued by limited funds, bureaucratic tangles, and problems associated with gaining public support. By documenting the engaging story of the challenges, roadblocks, false starts, and achievements of the site's founders, Krugler brings to life the history of the dedicated corps who collected and preserved Wisconsin's diverse social history and heritage.
News from a Midwestern Family Farm
When Margaret Williamson left her family’s rural Wisconsin farm to work in Minneapolis in 1923, her mother, Olava, wrote regularly with updates about daily activities: laundry, bread baking, plowing, planting, and harvesting the crops. Sometimes she enclosed a note from seven- year- old Helen, who reported on school and shenanigans and how she longed to see Margaret again. So begins decades of stories about a family at once singular— with personal joys and challenges— and broadly representative of the countless small farms that dotted the midwestern landscape in the early twentieth century. As Margaret’s niece Sara DeLuca weaves together family tales gleaned from letters and conversations, we learn of births and deaths, of innovations like the automobile, radio, and telephone that drew rural communities together, and of national and international events that brought home stone- hard truths. Depression- era farmers struggled to keep their land and feed their livestock; many failed. During wartime, this family made do just like everyone else. The tale that emerges is one of fierce devotion to family and work, of a changing landscape as smaller farms became part of conglomerates, and of the comforting daily rhythms of life shared with those who know us best.
In 1834 Samuel W. Pond and his brother Gideon built a cabin near Cloud Man's village of the Dakota Indians on the shore of Lake Calhoun--now present-day Minneapolis--intending to preach Christianity to the Indians. The brothers were to spend nearly twenty years learning the Dakota language and observing how the Indians lived.In the 1860s and 1870s, after the Dakota had fought a disastrous war with the whites who had taken their land, Samuel Pond recorded his recollections of the Indians "to show what manner of people the Dakotas were . . . while they still retained the customs of their ancestors."Pond's work, first published in 1908, is now considered a classic. Gary Clayton Anderson's introduction discusses Pond's career and the effects of his background on this work, "unrivaled today for its discussion of Dakota material culture and social, political, religious, and economic institutions."
The Civil War Letters of William Henry Harrison Clayton
William Henry Harrison Clayton was one of nearly 75,000 soldiers from Iowa to join the Union ranks during the Civil War. Possessing a high school education and superior penmanship, Clayton served as a company clerk in the 19th Infantry, witnessing battles in the Trans-Mississippi theater. His diary and his correspondence with his family in Van Buren County form a unique narrative of the day-to-day soldier life as well as an eyewitness account of critical battles and a prisoner-of-war camp.
Clayton participated in the siege of Vicksburg and took part in operations against Mobile, but his writings are unique for the descriptions he gives of lesser-known but pivotal battles of the Civil War in the West. Fighting in the Battle of Prairie Grove, the 19th Infantry sustained the highest casualties of any federal regiment on the field. Clayton survived that battle with only minor injuries, but he was later captured at the Battle of Stirling's Plantation and served a period of ten months in captivity at Camp Ford, Texas.
Clayton's writing reveals the complicated sympathies and prejudices prevalent among Union soldiers and civilians of that period in the country's history. He observes with great sadness the brutal effects of war on the South, sympathizing with the plight of refugees and lamenting the destruction of property. He excoriates draft evaders and Copperheads back home, conveying the intra-sectional acrimony wrought by civil war. Finally, his racist views toward blacks demonstrate a common but ironic attitude among Union soldiers whose efforts helped lead to the abolition of slavery in the United States.