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“We are undertaking the most tremendous move ever made by LABOR in this country, a move which will lead—NO ONE KNOWS WHERE!” With these words echoing throughout the city, on February 6, 1919, 65,000 Seattle workers began one of the most important general strikes in US history. For six tense yet nonviolent days, the Central Labor Council negotiated with federal and local authorities on behalf of the shipyard workers whose grievances initiated the citywide walkout. Meanwhile, strikers organized to provide essential services such as delivering supplies to hospitals and markets, as well as feeding thousands at union-run dining facilities.Robert L. Friedheim’s classic account of the dramatic events of 1919, first published in 1964 and now enhanced with a new introduction, afterword, and photo essay by James N. Gregory, vividly details what happened and why. Overturning conventional understandings of the American Federation of Labor as a conservative labor organization devoted to pure and simple unionism, Friedheim shows the influence of socialists and the IWW in the city’s labor movement. While Seattle’s strike ended in disappointment, it led to massive strikes across the country that determined the direction of labor, capital, and government for decades. The Seattle General Strike is an exciting portrait of a Seattle long gone and of events that shaped the city’s reputation for left-leaning activism into the twenty-first century.
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George Kennan (1845-1924) was a pioneering explorer, writer, and lecturer on Russia in the nineteenth century, the author of classic works such as Tent Life in Siberia and Siberia and the Exile System, and great-uncle of George Frost Kennan, the noted historian and diplomat of the Cold War.In 1870, Kennan became the first American to explore the highlands of Dagestan, a remote Muslim region of herders, silversmiths, carpet-weavers, and other craftsmen southeast of Chechnya, only a decade after Russia violently absorbed the region into its empire. He kept detailed journals of his adventures, which today form a small part of his voluminous archive in the Library of Congress. Frith Maier has combined the diaries with selected letters and Kennan’s published articles on the Caucasus to create a vivid narrative of his six-month odyssey.The journals have been organized into three parts. The first covers Kennan’s journey to the Caucasus, a significant feat in itself. The second chronicles his expedition across the main Caucasus Ridge with the Georgian nobleman Prince Jorjadze. In the final part, Kennan circles back through the lands of Chechnya to slip once again into the Dagestan highlands.Kennan’s remarkable curiosity and perception come through in this lively and accessible narrative, as does his humor at the challenges of his travels.In her introduction, Maier discusses Kennan’s illustrious career and his reliability as an observer, while providing background on the Caucasus to help clarify Kennan’s descriptions of daily life, religion, etiquette, customary law, and local government. In an Afterword, she retraces Kennan’s steps to find descendants of Prince Jorjadze and describes her work in coproducing, with filmmaker Christopher Allingham, a documentary inspired by Kennan’s Caucasus journey.
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In the Forbidden City and other palaces around Beijing, Emperor Qianlong (r. 1736-1795) surrounded himself with monumental paintings of architecture, gardens, people, and faraway places. The best artists of the imperial painting academy, including a number of European missionary painters, used Western perspectival illusionism to transform walls and ceilings with visually striking images that were also deeply meaningful to Qianlong. These unprecedented works not only offer new insights into late imperial China’s most influential emperor, but also reflect one way in which Chinese art integrated and domesticated foreign ideas.In Imperial Illusions, Kristina Kleutghen examines all known surviving examples of the Qing court phenomenon of “scenic illusion paintings” (tongjinghua), which today remain inaccessible inside the Forbidden City. Produced at the height of early modern cultural exchange between China and Europe, these works have received little scholarly attention. Richly illustrated, Imperial Illusions offers the first comprehensive investigation of the aesthetic, cultural, perceptual, and political importance of these illusionistic paintings essential to Qianlong’s world.Art History Publication Initiative. For more information, visit http://arthistorypi.org/books/imperial-illusions