Our National Monuments

From the north woods of Maine to the cactus-filled deserts of Arizona, America's national monuments include vast lands rivaling the national parks in beauty, diversity, and historical heritage. These critically important landscapes, mostly under the Bureau of Land Management supervision, are often under the radar with limited visitor information available yet offer considerable opportunities for solitude and adventure compared to bustling national parks. The Antiquities Act of 1906 gave Presidents the authority to proclaim national monuments as an expedited way to protect areas of natural or cultural significance. Since then, 16 Presidents have used the Antiquities Act to preserve some of America's most treasured public lands and waters. In 2017, an unprecedented Executive Order was issued questioning these designations by calling for the review of 27 national monuments across 11 states and two oceans, opening the threat of development to vulnerable and irreplaceable natural resources. Our National Monuments introduces these spectacular and unique landscapes, in the first book of its kind. Accompanying the collection of scenic photographs is an invaluable guide including maps of each national monument with carefully selected attractions identified and described based on the author's wide-ranging explorations. Our National Monuments invites readers to experience for themselves these lands and learn about the people and cultures who came before, and to whom these lands are still sacred places. QT Luong is one of the most prolific photographers working in America's public lands and the author of Treasured Lands, the best-selling and acclaimed photography book about the national parks. Combining hundreds of his sumptuously printed photographs with essays from citizen conservation associations caring for these national treasures; including a foreword by former Secretary of the Interior Sally Jewell and photographs of marine national monuments from Ansel Adams award-winning photographer Ian Shive, the comprehensive portrayals of Our National Monuments help readers understand how these essential landscapes are preserving America's past and shaping its future.

Rothman traces the evolution of federal preservation. He shows how laws, policies, personalities, personal and bureaucratic rivalries, and a changing cultural climate affected preservation efforts. he illustrates how the national park system has functioned and changed over the years as public officials have tried to implements federal policy at the grassroots level.

The rapid expansion of the field of public history since the 1970s has led many to believe that it is a relatively new profession. In this book, Denise D. Meringolo shows that the roots of public history actually reach back to the nineteenth century, when the federal government entered into the work of collecting and preserving the nation's natural and cultural resources. Yet it was not until the emergence of the education-oriented National Park Service history program in the 1920s and 1930s that public history found an institutional home. Even then, tensions between administrators in Washington and practitioners on the ground at National Parks, monuments, and museums continued to redefine the scope and substance of the field. The process of definition persists to this day as public historians establish a growing presence in major universities throughout the United States and abroad. Book jacket.

Describes in detail all US national parks and natural and archaeological monuments. Includes addresses, phone numbers, directions, and other relevant information.

Many of the poems in National Monuments explore bodies, particularly the bodies of indigenous women worldwide, as monuments—in life, in photos, in graves, in traveling exhibitions, and in plastic representations at the airport. Erdrich sometimes imagines what ancient bones would say if they could speak. Her poems remind us that we make monuments out of what remains—monuments are actually our own imaginings of the meaning or significance of things that are, in themselves, silent. As Erdrich moves from the expectedly "poetic" to the voice of a newspaper headline or popular culture, we are jarred into wondering how we make our own meanings when the present is so immediately confronted by the past (or vice versa). The language of the scientists that Erdrich sometimes quotes in epigraphs seems reductive in comparison to the richness of tone and meaning that these poems—filled with puns, allusions, and wordplay—provide. Erdrich's poetry is literary in the best sense of the word, infused with an awareness of the poetic canon. Her revisions of and replies to poems by William Carlos Williams, Robert Frost, and others offer an indigenous perspective quite different from the monuments of American literature they address.