Lost Worlds of 1863. W. Dirk Raat
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Название: Lost Worlds of 1863

Автор: W. Dirk Raat

Издательство: John Wiley & Sons Limited

Жанр: Историческая литература

Серия:

isbn: 9781119777632

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СКАЧАТЬ suited to the subject matter of “Fear of a Red Planet: Forced Removal and Relocation;” that of forced migration and extinction of a people for the benefit of a dominant culture, with no credence for the human cost.

      “Fear of a Red Planet” is also an indirect reference to a mockumentary called “Fear of a Black Hat,” a comedy about the rise and fall of the controversial musical group N.W.A. (Niggaz Wit Attitudes). “Fear of a Black Planet” is the title of N.W.A.’s most famous album; the reference in the Mural title to both “Black Hat” and “Black Planet” is about the co-mingling of parody and fear, which is how the dominant culture relates to groups in the minority.

      Colonization and imperialism remain a painful memory, but an essential one for us to learn from if we can. Raat’s Lost Worlds of 1863 draws us closer to what is at stake between all cultures and people on this planet. By focusing on this period his work sheds new light on the complexities at play at a pivotal time in our not too-distant past.

      Steven Jon Yazzie

      Phoenix, Arizona

      As enemies, the Mexicans were nothing in comparison with the White Eyes who came in from the east. White Eyes is not the exact meaning of our word for them; a more exact meaning would be Pale Eyes.

      Ace Dalugie, patriarch of the Mescalero Reservation, Son of Juh, Leader of the Nednhi Apache

      This is a history about the relationship between what Apache patriarch Ace Dalugie called the Pale Eyes and their opposite numbers, the “redskins” as the Pale Eyes derisively called them. Whites or Pale Eyes usually had a skin color that was not white but flesh colored or a light brownish pink color. As for the “redskins,” they were seldom only red but ranged in skin color from a dull yellowish brown (khaki) or a light grayish brown (beige) to bronze and reddish-brown.

      Only the caste system the whites brought with them dictated a false dichotomy between being “white” and “red,” with the “redskins” being assigned the external and subordinate role that racism and casteism required. The history of the Greater Southwest is one in which “whites” maintained the illusion of their superiority by dehumanizing indigenous peoples. As social and cultural historian Gary Michael Tartakov noted, “It [they] dehumanized others to build its [their] own civilization.”1

      The inspiration for this work comes both from my activity as a docent at the Heard Museum in downtown Phoenix, Arizona, as well as a vacation trip I took in the summer of 2012. That summer, my wife and I, accompanied by our dog Nacho, drove through Owens Valley on our way to Lake Tahoe to visit our children and grandchild. On the way I noticed a historical marker commemorating the removal of several hundred Owens Valley Paiutes to Fort Tejon. This military reservation was located across the Sierra Nevada between the Los Angeles Basin and the Central Valley. I noted to my wife that this was the same year Kit Carson and his military allies forcibly began to remove several thousand Navajos from northeastern Arizona to central New Mexico. This coincidence led me to investigate further the significance of “1863” and this book is the result of that inquiry.

      The primary theme of this work has been derived from a mural painted by the Navajo artist Steven Jon Yazzie that is in the collection of the Heard Museum in downtown Phoenix, Arizona. In the year 2000, Yazzie spent more than six months creating a mural that illustrated the diaspora experience of tribal peoples in the Greater American Southwest. These tales speak of the removal and assimilation policies of the United States government (or in the case of the Yaqui, the Mexican regime of Porfirio Díaz) vis-à-vis the southwestern indigenous populations, and the resulting uprooting of indigenous peoples from land and family. The Yazzie mural covered three walls in the Ullman gallery and focused on the nineteenth century stories of the Navajo, Yaqui, and Colorado River people, as well as the boarding school period that began in 1878. Yazzie’s mural is entitled “Fear of a Red Planet: Relocation and Removal,” and was the motivating force behind the current work.

      There are many ways to parcel up the past. Some historians talk about historical periods, such as the Age of Reason or the Cold War era. Others speak of centuries, generations, or decades—all terms of convenience. The most daring and enjoyable histories are those that proclaim that the course of human events centered on a particular year, with 1492 an especially appealing year. According to Louis Menand, writing in The New Yorker, these are known as one-dot histories.2 Those books with one-year titles are melodramatic and somewhat ahistorical. So let me assure the reader that the one-dot theory of history does not apply in the present case.

      A Brief Word about Organization and Usage

      With the exception of the Prologue, the subject matter is organized around several case studies in which the narrative is developed from early historical times through the late nineteenth and early twentieth centuries. Following the Prologue, the first chapter focuses on the topic of Indian slavery and Lincoln’s Emancipation Proclamation of 1863. The subject of Indian slavery is not simply a digression, but part of the argument that the so-called “Great Emancipator” paid no heed to the problem of “de facto” Indian slavery and as such one more reminder of his lack of empathy for the Indian people. This chapter introduces the reader to the general environment of the Civil War era in which Lincoln’s lack of an Indian policy led to the precedents of relocating Indian people from Minnesota to the Missouri country, and depended upon the military to enforce the removal plans. Preoccupied with restoring the Union, Lincoln did little to control the western volunteers’ anti-Indian zeal. His main concern was to create treaties so that land could be acquired by and for the advancing white frontier. After the Minnesota relocation the Numa or Paiutes were removed from the СКАЧАТЬ