In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory's first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi's murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States' colonial past. Though the Historical Court's verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory''s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi''s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court''s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory’s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi’s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court’s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin's statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue's unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist's home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University's campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O'Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin's statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin's statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue's unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist's home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University's campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O'Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin's statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin''s statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue''s unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist''s home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University''s campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O''Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin''s statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territorys first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschis murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States' colonial past.Though the Historical Courts verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory’s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi’s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court’s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin''s statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue''s unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist''s home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University''s campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O''Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin''s statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory's first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi's murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States' colonial past. Though the Historical Court's verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory''s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi''s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court''s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory’s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi’s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court’s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin's statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue's unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist's home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University's campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O'Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin's statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin's statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue's unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist's home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University's campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O'Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin's statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin''s statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue''s unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist''s home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University''s campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O''Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin''s statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territorys first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschis murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States' colonial past.Though the Historical Courts verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

In 1855 in the South Puget Sound, war broke out between Washington settlers and Nisqually Indians. A party of militiamen traveling through Nisqually country was ambushed, and two men were shot from behind and fatally wounded. After the war, Chief Leschi, a Nisqually leader, was found guilty of murder by a jury of settlers and hanged in the territory’s first judicial execution. But some 150 years later, in 2004, the Historical Court of Justice, a symbolic tribunal that convened in a Tacoma museum, reexamined Leschi’s murder conviction and posthumously exonerated him. In Framing Chief Leschi, Lisa Blee uses this fascinating case to uncover the powerful, lasting implications of the United States'' colonial past.Though the Historical Court’s verdict was celebrated by Nisqually people and many non-Indian citizens of Washington, Blee argues that the proceedings masked fundamental limits on justice for Indigenous people seeking self-determination. Underscoring critical questions about history and memory, Framing Chief Leschi challenges readers to consider whether liberal legal structures can accommodate competing narratives and account for the legacies of colonialism to promote social justice today.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin''s statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue''s unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist''s home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University''s campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes.As Lisa Blee and Jean M. O''Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin''s statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.