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C O N T R IB U T O R S E s s a y is t s Neil Campbell is Head of American Studies at the University of Derby, U.K. He has published three books: American Cultural Studies, The Cultures of the American New West, and an edited volume, The Radiant Hour: Versions of American Youth Culture. He is currently working on a landscape photography project and writing on American roadscapes. Joseph Coulombe is Assistant Professor at Rowan University in Glassboro, New Jersey. He has published articles on Mark Twain, Edith Wharton, Walt Whitman, and Emerson Bennett, and he is currently completing a book man­ uscript titled Mark Twain and the American West: Money, Manhood, and Persona in the Early Writings. His teaching specialties include the American novel, Native American literature, and regional literatures of the United States. Kathleen Godfrey is Assistant Professor of English at California State University, Fresno. An earlier version of her essay in this issue was presented at the 1999 W LA conference as part of the “Images of Native Americans” panel. She has previously published work on Willa Cather and is currently working on an article on Cather’s The Song of the Lark. Gwen Griffin (Sisseton Wahpeton Dakota/Oklahoma Cherokee) is Associate Professor of English at Minnesota State University, Mankato. Most recently acclaimed for her role as Dorothy-Haunt-Us in a production of The Shaman of Okay by Choctaw playwright LeAnne Howe, she teaches Native American lit­ erature and is working on a collection of poetry. Wopida tanka owasin eciciyapi he. Margaret D. Jacobs is Assistant Professor of History at New Mexico State University, where she teaches classes on American Indian history and U.S. women’s history. Her research focuses on cross-cultural relations between women. In 1999, she published Engendered Encounters: Feminism and Pueblo Cultures, 1879-1934, which has won three awards. She is currently engaged in a comparative research project that analyzes the role of white women in the removal of indigenous children in both the United States and Australia. ARTISTS Mabel Alvarez (1892-1985) was bom to a prominent Spanish family in Hawaii. In 1906, the family moved to Los Angeles, where Alvarez enrolled in its leading art school. As a young woman, she was influenced by Theosophy and Eastern mysticism. She reached national acclaim during the 1930s and is considered one of California’s preeminent artists. C o n t r i b u t o r s 313 Shonto Begay (b. 1954) is renowned for his paintings, as well as for writing and illustrating children’s books. Begay studied painting at the Institute of American Indian Arts in Sante Fe, and the California College of Arts and Crafts in Oakland. His award-winning work has been exhibited through­ out the Southwest. More of his work can be viewed at his website or in his book of poetry and paintings, Navajo: Visions and Voices across the Mesa (1995). George Caleb Bingham (1811-1879) is considered by many to be one of Missouri’s and America’s greatest artists and is best known for his painting Fur Traders Descending the Missouri. Most of Bingham’s paintings depict a pic­ turesque western frontier life on the river with fur traders, boatsmen, explor­ ers, settlers, and politicians as his subjects. Alice Coutts (1879-1973) grew up in Australia and moved to Northern California in the early twentieth century. She is known for her paintings of Native Americans, which she created during her stays with the Pomo in California and the Hopi in Arizona. Roberta Lavadour (b. 1962) made her first book twenty years ago and has been pursuing her interest ever since through a series of workshop studies and inde­ pendent investigation. She lives in Eastern Oregon, where she owns and oper­ ates Mission Creek Press. More of her artist’s books can be viewed at . Los Angeles Fine Arts Squad (1969-1974) was a group of painters including Terry Schoonhoven (b. 1945) and Victor Henderson (b. 1939), who were the sole collaborators on the Isle of California mural, although “the squad” often included other artists. They sought to establish the streets as a more appropri­ ate context...


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