In 1837 the Ioways, an Indigenous people who had called most of present-day Iowa and Missouri home, were suddenly bound by the Treaty of 1836 with the U.S. federal government to restrict themselves to a two-hundred-square-mile parcel of land west of the Missouri River. Forcibly removed to the newly created Great Nemaha Agency, the Ioway men, women, and children, numbering nearly a thousand, were promised that through hard work and discipline they could enter mainstream American society. All that was required was that they give up everything that made them Ioway. In Ioway Life, Greg Olson provides the first detailed account of how the tribe met this challenge during the first two decades of the agency's existence.Within the Great Nemaha Agency's boundaries, the Ioways lived alongside the U.S. Indian agent, other government employees, and Presbyterian missionaries. These outside forces sought to manipulate every aspect of the Ioways' daily life, from their manner of dress and housing to the way they planted crops and expressed themselves spiritually. In the face of the white reformers' contradictory assumptions - that Indians could assimilate into the American mainstream, and that they lacked the mental and moral wherewithal to transform - the Ioways became adept at accepting necessary changes while refusing religious and cultural conversion. Nonetheless, as Olson's work reveals, agents and missionaries managed to plant seeds of colonialism that would make the Ioways susceptible to greater government influence later on - in particular, by reducing their self-sufficiency and undermining their traditional structure of leadership.Ioway Life offers a complex and nuanced picture of the Ioways' efforts to retain their tribal identity within the constrictive boundaries of the Great Nemaha Agency. Drawing on diaries, newspapers, and correspondence from the agency's files and Presbyterian archives, Olson offers a compelling case study in U.S. colonialism and Indigenous resistance.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

For nearly 40 years, David Lynch''s works have enthralled, mystified, and provoked viewers. Lynch''s films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director''s unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch''s life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director''s life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker''s works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

In Indigenous Missourians: Ancient Societies to the Present, historian Greg Olson argues that the history of Indigenous people in present-day Missouri is far more nuanced, complex, and vibrant than the often-told tragic stories of conflict with white settlers and forced Indian removal would lead us to believe. In this path-breaking narrative, Olson presents the Show Me State’s Indigenous past as one spanning twelve millennia of Native presence, resilience, and evolution. While previous Missouri histories have tended to include Indigenous people only during periods when they constituted a threat to the state’s white settlement, Olson shows us the continuous presence of Native people that lasts up to the present day.Beginning thousands of years before the state of Missouri existed, Olson recounts how centuries of inventiveness and adaptability enabled Native people to create innovations in pottery, agriculture, architecture, weaponry, and intertribal diplomacy. Technological advances made it possible for Native people to build Cahokia, one of the largest cities on the planet during the eleventh century. Located just across the Mississippi River from present-day St. Louis, Cahokia was an amazing example of centralized power and technological know-how.Olson also shows how the resilience of Indigenous people like the Osages allowed them to thrive as fur traders in the face of French and Spanish colonization. Even as settler colonialists waged an all-out policy of cultural genocide against them, Native people persevered.Though the state of Missouri claimed to have forced Indigenous people from its borders after the 1830s, Olson uses U.S. census records and government rolls from the allotment period to show that thousands remained, often passing as blacks or whites. Removed from their tribal communities, these Indigenous Missourians came together to create intertribal social networks to celebrate Native culture in new ways.In the end, Olson argues that, with a current population of 27,000 Indigenous people, Missouri remains a part of Indian Country and that Indigenous history is Missouri History.

The history of Indigenous people in present-day Missouri is far more nuanced, complex, and vibrant than the often-told tragic stories of conflict with white settlers and forced Indian removal would lead us to believe. In this path-breaking narrative, Greg Olson presents the Show Me State’s Indigenous past as one spanning twelve millennia of Native presence, resilience, and evolution. While previous Missouri histories have tended to include Indigenous people only during periods when they constituted a threat to the state’s white settlement, Olson shows us the continuous presence of Native people that includes the present day.Beginning thousands of years before the state of Missouri existed, Olson recounts how centuries of inventiveness and adaptability enabled Native people to create innovations in pottery, agriculture, architecture, weaponry, and intertribal diplomacy. Olson also shows how the resilience of Indigenous people like the Osages allowed them to thrive as fur traders, even as settler colonialists waged an all-out policy of cultural genocide against them.Though the state of Missouri claimed to have forced Indigenous people from its borders after the 1830s, Olson uses U.S. Census records and government rolls from the allotment period to show that thousands remained. In the end, he argues that, with a current population of 27,000 Indigenous people, Missouri remains very much a part of Indian Country, and that Indigenous history is Missouri history.

Folklorist Wayland Hand once called Mary Alicia Owen “the most famous American Woman Folklorist of her time.” Drawing on primary sources, such as maps, census records, court documents, personal letters and periodicals, and the scholarship of others who have analyzed various components of Owen’s multifaceted career, historian Greg Olson offers the most complete account of her life and work to date. He also offers a critical look at some of the short stories Owen penned, sometimes under the name Julia Scott, and discusses how the experience she gained as a fiction writer helped lead her to a successful career in folklore.Olson begins with an in-depth look at St. Joseph, Missouri, the place where Owen lived most of her life. He explores the role that her grandparents and parents had in transforming the small trading village into one of the American West’s most exciting boomtowns. He also examines the family’s position of affluence and the effect that the devastation of the Civil War had on their family life and their standing within the community. He describes the interaction of Owen with her two younger sisters, both of whom had interesting and, for women of the time, unconventional careers.Olson analyzes many of the nineteenth-century theories, stereotypes, and popular beliefs that influenced the work of Owen and many of her peers. By taking a cross-disciplinary look at her works of fiction, poetry, folklore, history, and anthropology, this volume sheds new light on elements of Owen’s career that have not previously been discussed in print. Examples of the romance stories that Owen wrote for popular magazines in the 1880’s are identified and examined in the context of the time in which Owen wrote them.This groundbreaking biography shows that Owen was more than just a folklorist—she was a nineteenth-century woman of many contradictions. She was an independent woman of many interests who possessed a keen intellect and a genuine interest in people and their stories. Specialists in folklore, anthropology, women’s studies, local and regional history, and Missouriana will find much to like in this thoroughly researched study.

In 1837 the Ioways, an Indigenous people who had called most of present-day Iowa and Missouri home, were suddenly bound by the Treaty of 1836 with the U.S. federal government to restrict themselves to a two-hundred-square-mile parcel of land west of the Missouri River. Forcibly removed to the newly created Great Nemaha Agency, the Ioway men, women, and children, numbering nearly a thousand, were promised that through hard work and discipline they could enter mainstream American society. All that was required was that they give up everything that made them Ioway. In Ioway Life, Greg Olson provides the first detailed account of how the tribe met this challenge during the first two decades of the agency's existence.Within the Great Nemaha Agency's boundaries, the Ioways lived alongside the U.S. Indian agent, other government employees, and Presbyterian missionaries. These outside forces sought to manipulate every aspect of the Ioways' daily life, from their manner of dress and housing to the way they planted crops and expressed themselves spiritually. In the face of the white reformers' contradictory assumptions - that Indians could assimilate into the American mainstream, and that they lacked the mental and moral wherewithal to transform - the Ioways became adept at accepting necessary changes while refusing religious and cultural conversion. Nonetheless, as Olson's work reveals, agents and missionaries managed to plant seeds of colonialism that would make the Ioways susceptible to greater government influence later on - in particular, by reducing their self-sufficiency and undermining their traditional structure of leadership.Ioway Life offers a complex and nuanced picture of the Ioways' efforts to retain their tribal identity within the constrictive boundaries of the Great Nemaha Agency. Drawing on diaries, newspapers, and correspondence from the agency's files and Presbyterian archives, Olson offers a compelling case study in U.S. colonialism and Indigenous resistance.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

For nearly 40 years, David Lynch''s works have enthralled, mystified, and provoked viewers. Lynch''s films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director''s unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch''s life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director''s life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker''s works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

For nearly 40 years, David Lynch's works have enthralled, mystified, and provoked viewers. Lynch's films delve into the subjective consciousness of his characters to reveal both the depraved darkness and luminous spirituality of human nature. From his experimental shorts of the 1960s to feature films like Eraserhead, The Elephant Man, Blue Velvet, Mulholland Drive, and INLAND EMPIRE, Lynch has pushed the boundaries of cinematic storytelling. In David Lynch: Beautiful Dark, author Greg Olson explores the surreal intricacies of the director's unique visual and visceral style not only in his full-length films but also his early forays into painting and short films, as well as his television landmark, Twin Peaks. This in-depth exploration is the first full-length work to analyze the intimate symbiosis between Lynch's life experience and artistic expressions: from the small-town child to the teenage painter to the 60-year-old Internet and digital media experimenter.To fully delineate the director's life and art, Olson received unprecedented participation from Lynch, his parents, siblings, old school friends, romantic partners, children, and decades of professional colleagues, as well as on-set access to the director during the production of Twin Peaks: Fire Walk with Me. Throughout this study, Olson provides thorough analyses of the filmmaker's works as Lynch conceived, crafted, and completed them. Consequently, David Lynch: Beautiful Dark is the definitive study of one of the most influential and idiosyncratic directors of the last four decades.

In Indigenous Missourians: Ancient Societies to the Present, historian Greg Olson argues that the history of Indigenous people in present-day Missouri is far more nuanced, complex, and vibrant than the often-told tragic stories of conflict with white settlers and forced Indian removal would lead us to believe. In this path-breaking narrative, Olson presents the Show Me State’s Indigenous past as one spanning twelve millennia of Native presence, resilience, and evolution. While previous Missouri histories have tended to include Indigenous people only during periods when they constituted a threat to the state’s white settlement, Olson shows us the continuous presence of Native people that lasts up to the present day.Beginning thousands of years before the state of Missouri existed, Olson recounts how centuries of inventiveness and adaptability enabled Native people to create innovations in pottery, agriculture, architecture, weaponry, and intertribal diplomacy. Technological advances made it possible for Native people to build Cahokia, one of the largest cities on the planet during the eleventh century. Located just across the Mississippi River from present-day St. Louis, Cahokia was an amazing example of centralized power and technological know-how.Olson also shows how the resilience of Indigenous people like the Osages allowed them to thrive as fur traders in the face of French and Spanish colonization. Even as settler colonialists waged an all-out policy of cultural genocide against them, Native people persevered.Though the state of Missouri claimed to have forced Indigenous people from its borders after the 1830s, Olson uses U.S. census records and government rolls from the allotment period to show that thousands remained, often passing as blacks or whites. Removed from their tribal communities, these Indigenous Missourians came together to create intertribal social networks to celebrate Native culture in new ways.In the end, Olson argues that, with a current population of 27,000 Indigenous people, Missouri remains a part of Indian Country and that Indigenous history is Missouri History.

The history of Indigenous people in present-day Missouri is far more nuanced, complex, and vibrant than the often-told tragic stories of conflict with white settlers and forced Indian removal would lead us to believe. In this path-breaking narrative, Greg Olson presents the Show Me State’s Indigenous past as one spanning twelve millennia of Native presence, resilience, and evolution. While previous Missouri histories have tended to include Indigenous people only during periods when they constituted a threat to the state’s white settlement, Olson shows us the continuous presence of Native people that includes the present day.Beginning thousands of years before the state of Missouri existed, Olson recounts how centuries of inventiveness and adaptability enabled Native people to create innovations in pottery, agriculture, architecture, weaponry, and intertribal diplomacy. Olson also shows how the resilience of Indigenous people like the Osages allowed them to thrive as fur traders, even as settler colonialists waged an all-out policy of cultural genocide against them.Though the state of Missouri claimed to have forced Indigenous people from its borders after the 1830s, Olson uses U.S. Census records and government rolls from the allotment period to show that thousands remained. In the end, he argues that, with a current population of 27,000 Indigenous people, Missouri remains very much a part of Indian Country, and that Indigenous history is Missouri history.

Folklorist Wayland Hand once called Mary Alicia Owen “the most famous American Woman Folklorist of her time.” Drawing on primary sources, such as maps, census records, court documents, personal letters and periodicals, and the scholarship of others who have analyzed various components of Owen’s multifaceted career, historian Greg Olson offers the most complete account of her life and work to date. He also offers a critical look at some of the short stories Owen penned, sometimes under the name Julia Scott, and discusses how the experience she gained as a fiction writer helped lead her to a successful career in folklore.Olson begins with an in-depth look at St. Joseph, Missouri, the place where Owen lived most of her life. He explores the role that her grandparents and parents had in transforming the small trading village into one of the American West’s most exciting boomtowns. He also examines the family’s position of affluence and the effect that the devastation of the Civil War had on their family life and their standing within the community. He describes the interaction of Owen with her two younger sisters, both of whom had interesting and, for women of the time, unconventional careers.Olson analyzes many of the nineteenth-century theories, stereotypes, and popular beliefs that influenced the work of Owen and many of her peers. By taking a cross-disciplinary look at her works of fiction, poetry, folklore, history, and anthropology, this volume sheds new light on elements of Owen’s career that have not previously been discussed in print. Examples of the romance stories that Owen wrote for popular magazines in the 1880’s are identified and examined in the context of the time in which Owen wrote them.This groundbreaking biography shows that Owen was more than just a folklorist—she was a nineteenth-century woman of many contradictions. She was an independent woman of many interests who possessed a keen intellect and a genuine interest in people and their stories. Specialists in folklore, anthropology, women’s studies, local and regional history, and Missouriana will find much to like in this thoroughly researched study.