Bøger udgivet af Missouri Historical Society Press

St. Louis scholars contribute essays on the untold stories of the 1904 World's Fair. The 1904 World's Fair was a complex, fascinating event that continues to evoke a range of emotions. It was grand. It was shameful. It was full of fun and full of indignity. Now, 120 years after the Fair opened in St. Louis, a new exhibit at the Missouri History Museum is reintroducing the Fair and re-examining its legacy. It will re-examine the complexity of the Fair in ways that will make this story feel new again. A companion book to the exhibit, The Wonder and Complexity of the 1904 World's Fair will go much deeper than the well-worn stories about the Ferris wheel and ice cream cones to explore topics including the Fair's visual culture, technology, and international reach. It will also cover more challenging aspects, such as the Filipino people who were brought to St. Louis to be placed on display, the African Americans who were refused service, and the Chinese people who faced prejudice and arrest. Compelling images and artifacts from the Missouri Historical Society's rich collections will further enhance these stories throughout the book, and additional images will comprise a small catalog at the end of the book.

Nearly one thousand years ago, Native peoples built a satellite suburb of America's great metropolis on the site that later became St. Louis. At its height, as many as 30,000 people lived in and around present-day Cahokia, Illinois. While the mounds around Cahokia survive today (as part of a state historic site and UNESCO world heritage site), the monumental earthworks that stood on the western shore of the Mississippi were razed in the 1800s. But before and after they fell, the mounds held an important place in St. Louis history, earning it the nickname "Mound City." For decades, the city had an Indigenous reputation. Tourists came to marvel at the mounds and to see tribal delegations in town for trade and diplomacy. As the city grew, St. Louisans repurposed the mounds--for a reservoir, a restaurant, and railroad landfill--in the process destroying cultural artifacts and sacred burial sites. Despite evidence to the contrary, some white Americans declared the mounds natural features, not built ones, and cheered their leveling. Others espoused far-fetched theories about a lost race of Mound Builders killed by the ancestors of contemporary tribes. Ignoring Indigenous people's connections to the mounds, white Americans positioned themselves as the legitimate inheritors of the land and asserted that modern Native peoples were destined to vanish. Such views underpinned coerced treaties and forced removals, and--when Indigenous peoples resisted--military action. The idea of the "Vanishing Indian" also fueled the erasure of Indigenous peoples' histories, a practice that continued in the 1900s in civic celebrations that featured white St. Louisans "playing Indian" and heritage groups claiming the mounds as part of their own history. Yet Native peoples endured and in recent years, have successfully begun to reclaim the sole monumental mound remaining within city limits. Drawing on a wide range of sources, Patricia Cleary explores the layers of St. Louis's Indigenous history. Along with the first in-depth overview of the life, death, and afterlife of the mounds, Mound City offers a gripping account of how Indigenous histories have shaped the city's growth, landscape, and civic culture.

The only comprehensive history of TWA and its predecessors. This book recounts how three larger-than-life personalities--Charles Lindbergh, Howard Hughes, and Carl Icahn--shaped the history of Trans World Airlines (TWA) and determined its fate. It's the story of how powerful, strong-willed individuals created and ultimately destroyed an American icon that had deep roots in Kansas City and St. Louis, Missouri. Come Fly with Me traces the airline from its origins in the 1920s to the twenty-first century. By using unprecedented access to the entire TWA corporate archives and interviewing key business leaders, the authors have crafted a compelling tale of a corporation, an industry, and an era.

The first biography of an unsung St. Louis builder. Though few people in contemporary St. Louis likely know his name, it's indisputable that builder A. A. Fischer left an indelible mark on the city's residential architecture. Between 1894 and 1929, Fischer was responsible for the construction of more than three hundred houses and apartment buildings in St. Louis and nearby University City, Missouri. His trademark was the broken frieze, whose wreaths and swags descend into the spaces between the upper-story windows, rather than extending straight across the façade below the cornice, as is traditional. Today, you can still see homes and commercial buildings across the St. Louis area bearing Fischer's trademark. A. A. Fischer's St. Louis Streetscapes is the first biography of this unsung urban builder. Nancy Moore Hamilton delves into Fischer's life and work, exploring not only his prolific construction career but also his other related business ventures, dabbling in speculation, buying and selling real estate, and producing architectural plans. Featuring more than four hundred images and a full-color fold-out map showing all of Fischer's homes, this book is sure to bring attention to a builder who quietly shaped a midwestern metropolis.

Bosnian St. Louis is a warm and richly illustrated tribute to an unlikely immigrant success story in America's heartland.   In the 1990s, Bosnia and Herzegovina was rocked by brutal warfare and systematic genocide, leading to a mass exodus from the Balkan nation. Starting in 1993, thousands of these displaced Bosnians found a welcoming new home in an unexpected place: St. Louis, Missouri, where today the Bosnian population exceeds 60,000. Bosnian St. Louis tells the story of how these resettled immigrants took root in a new home and quickly reshaped the image of their adopted city.   Using first-hand accounts from members of St. Louis's Bosnian community, Patrick McCarthy and Akif Cogo explore how an event of global significance became the lived reality of the refugees who came to St. Louis and who, in the ensuing years, have had a profound effect on the character of the city they now call home. The city's resettled Bosnians quickly established themselves as a positive local presence, bringing with them tight-knit families, a strong work ethic, and a rich cultural heritage. Tragedy and sorrow created the Bosnian community in St. Louis, but, as this book makes clear, new beginnings and opportunities are building a brighter future for the city's Bosnians and for all those who call them neighbors and friends.   Illustrated with nearly one hundred images and featuring an introduction from acclaimed writer and Bosnian immigrant Aleksandar Hemon, Bosnian St. Louis is a groundbreaking account of a vast refugee resettlement in a single US city and a testament to how that resettlement has changed that city forever.

Before entering the United States for the first time and settling in St. Louis, Missouri, these students packed up their histories and memories. Here, in more than forty collected stories, the new voices of immigrants living in St. Louis recount tales both dramatic and mundane: A Liberian tells of inheriting the role of chief witch doctor from his uncle at the age of nine. A Bosnian tells of being rescued by a fishing boat from drowning in the Adriatic Sea. A Russian vividly remembers the smell of fresh bread and cold milk after returning from the siege of Leningrad. The stories these immigrants tell, writing in their new language, will resonate with anyone who has made or observed a similar difficult transition. Sometimes the desire to assimilate is in conflict with the need to maintain the connection to the home of the heart. The contributors of these stories range in age from eleven to eighty-three. The language is elegant and simple, as one would expect from writers who suddenly find themselves reveling in a new but still unfamiliar language.

This text is about St Louis, from the first steps of Pierre Laclede's to the prototypes of MetroLink. It focuses on the central institutions and personalities that have shaped the city, as well as the events and circumstances bought through fame, or fear, to the citizens of St Louis.

In the late nineteenth century, Jefferson County, Missouri, was striving to emulate its cosmopolitan cousin to the north, St. Louis, while it battled to wipe out the remnants of its frontier lawlessness. For over three years, Mack Marsden was suspected of every major crime in Jefferson County. Though the newspapers labeled him a desperado, he was tried only once and never convicted of any wrongdoing. So when he was ambushed, shotgunned, and left dying on a dusty road, his mystery took on a new life. Who murdered him? And if Mack wasn t behind all those crimes, who was? This narrative nonfiction book is a true mystery that bears striking parallels to that of fellow Missourian Jesse James and is as thrilling as any of the more famous tales of the Old West."

"The St. Louis Street Department in 1900-1930 took thousands of photos to document municipal challenges and improvements, inadvertently capturing detailed scenes of everyday life. The images reveal the national trend among cities to use the camera as a documentary tool, and they showcase the city of St. Louis at the turn of the century"--

"This book examines the importance of the Mississippi River across time and through the lens of a single city: St. Louis. Features hundreds of maps, artifacts, and fascinating historic images, spanning back to St. Louis's founding and even earlier"--

This volume provides a descriptive and informative guide to more than 100 sites of literary significance in the greater St Louis area, featuring historical and biographical information, maps, anecdotes, and photographs.

"Companion catalog to the Missouri History Museum exhibit WWI: St. Louis and the Great War. Featuring more than 250 photographs and archival documents from the collections of the Missouri Historical Society and Soldiers Memorial Military Museum--most of which have never been published--this book details how the war touched the city and how its citizens rose to the challenge"--

The history of Bellefontaine Cemetery in St. Louis is told through the stories of those who are buried there. The book is organized into sections, such as artists, fur traders, and Civil War generals, which feature biographies of individuals. Besides being a history of a significant place, this book functions as a guidebook to St. Louis and its notable residents. Because so many of St. Louis's leading citizens (such as William Clark, James Buchanan Eads, Susan Blow, and Adolphus Busch) are buried in Bellefontaine, the book is a tale of the city. Cemetery records and interviews with such insiders as the cemetery's superintendent and gatekeeper inform the research. The contributions and controversies that make up St. Louis history are revealed, and the architecture and landscape of the cemetery are celebrated as significant to the region.

The book is an exhibition catalog that explores the topic of the color black and how it went from a traditional color of mourning to an essential item in almost every woman's wardrobe today. The catalog begins with Victorian mourning rituals and the attire that was considered appropriate for women during the different stages of grief. During the nineteenth and early twentieth centuries, black was worn primarily as a symbol of mourning and loss. A widowed woman was considered in full mourning, which lasted for a year and a day, and was to wear plain black clothing with no decoration. "Second" and "half" mourning followed, which allowed for different kinds of fabrics and embellishments to be worn. Stages and time frames varied by a woman's relationship to the deceased. Besides mourning dresses from the collection, mourning jewelry and accessories are featured. The catalog then explores the transition of the color black into a fashion color. Between the late nineteenth and early twentieth centuries black worn for mourning and black worn for fashion were beginning to occur simultaneously. Fabric choices and trims help to distinguish the difference. Dresses from the collection ranging from 1880 to 1918 are shown in this section. In the 1920s designer Coco Chanel created a line of black dresses as a versatile and affordable option for women. Other designers quickly followed suit, and black has prevailed in the fashions of almost every decade since. A special section of the catalog is devoted to Chanel and her dresses. The remainder of the catalog is devoted to the little black dress, broken down into those that are worn for everyday versatility and those for evening wear--from the 1920s to the present. There is information pertaining to the designers, original owners, and historical context pertaining to the time period of each dress.

In early January 1904, a reporter for the" St. Louis""Post-Dispatch" braved the winter chill, traveling to the Missouri State Penitentiary for a big story an interview with the Thorny Rose, Laura Bullion, who was convicted of forgery. But the real story was that she and her boyfriend Ben Kilpatrick had been bank robbers and members of Butch Cassidy s Wild Bunch. After eluding the law for years in several western states, they fled to St. Louis, where their freedom lasted only a few months, thanks to good police work and tips from alert citizens. After the article about Bullion was in print, the reporter took a train to Oklahoma City for his next assignment, an interview with Ed O Kelley, the man who killed Robert Ford, proud assassin of Jesse James. The reporter and the vigilante met on the dusty streets in the former Indian Territory, where statehood was still three years off. O Kelley, who was a forgotten relic of the Wild West, described how he was a friend of the James family and married a cousin of the infamous Younger Brothers. Though O Kelley had a chance to join their gang, he declined, choosing instead to leave his native Missouri. In Kansas and Colorado he served as a lawman, using violent tactics that earned him a reputation as a man with a quick temper, a ready gun, and a penchant for bending the law to suit his needs. In a series of meetings the reporter struggled to keep O Kelley sober enough to tell his tale. Gradually he described a great circle of vigilantism, from the Civil War to Jesse James s outlaw career, to the murder by Ford, to O Kelley s revenge for the killing. Ford had thought he would be a hero for killing James, but he was reviled everywhere he went. Unable to settle down, he finally opened a saloon in a tent at the mining camp of Creede, Colorado, which happened to also be the home of O Kelley. He thought Ford was the worst kind of vermin, and the local silver miners encouraged him to avenge his old friend Jesse. In a tragic twist of irony, he thought, like Ford before him, that he d be a hero. After he ambushed Ford, killing him with a point-blank shotgun blast, he was arrested and spent twenty years in prison before his friends finally won his pardon. He was released a broken man, his dream gone, entering a modern world of telephones and streetcars that cared little about his exploits. Even on the whiskey-drenched backstreets of Oklahoma City he found no peace. The night before his last meeting with the reporter, a drunken O Kelley was killed in a prolonged street fight and shootout with an Oklahoma City policeman. Just a month later, back in St. Louis, the reporter covered the capture of William Rudolph and George Collins, popularly known as the Missouri Kid and Black Frank. Adoring women crowded the streets to see the handsome bank-robbing murderers who evaded escape across a dozen states. The reporter knew that the court of public opinion would love to see them freed. But the wheel of justice had turned. Relentless detectives brought them in, a stout jail held them, and the court sent them both to be hanged with the same rope. As the reporter witnessed the execution he pondered America s progress beyond vigilantism. Was O Kelley the last vigilante standing? We always think it ends here, he wrote. But it never does. This title is narrative nonfiction and the third in the Missouri Vigilantes series following Johnston s 2011 book "The Mack Marsden Murder Mystery: Vigilantism or Justice?" and 2014 s "Necessary Evil: Settling Missouri with a Rope and a Gun.""""

Consists of the 166 letters that St Louisan James Love wrote to his fiancee, Eliza Mary "Molly" Wilson, during his Civil War service. This book includes the letters that discusses the war, including activities in Missouri, battles, Love's life as a soldier, and his time in a Confederate prison, and more.

John Caspar Wild, expert painter and lithographer, produced some of the earliest known depictions of urban America in the nineteenth century. This illustrated book presents Wild's paintings and prints for all to appreciate, and a catalogue raisonne identifies all of his known works. The author draws on his previous writings about Wild as well.

From the Mormon Wars to the Border Wars to gangs of Bald Knobbers and Bushwhackers, Missouri's reign of vigilante justice during the nineteenth century is unparalleled by any other state in the nation. This book chronicles the implications of vigilantism in Missouri.

In 1959, at the age of twenty-one, Max Starkloff was in a car accident that left him paralyzed from the neck down. How did this young man with barely a high school education become the leader of a powerful disability rights movement and the founder of the Starkloff Disability Institute? This is his remarkable story.

Fifty years ago, the post-World War II population boom produced a flood of new college students across the US. In St Louis County alone, the demand for higher education increased fivefold, and the State of Missouri responded. This book offers us a photographic history of the University of Missouri - St Louis.

Starting at the beginning of the twentieth century, Raymond E Maritz and W Ridgely Young built more than a hundred homes in the most affluent neighborhoods of St Louis County. This title presents a collection of their work, featuring photographs, architectural drawings, and original floor plans of homes built in a variety of styles.

For the first time, William C. Winter presents the story of the 1st Missouri Infantry, a Confederate regiment, through the complete works of Captain Joseph Boyce. Less than two decades after the war, Boyce began presenting his history of the regiment to the Southern Historical and Benevolent Society of St. Louis, which appeared as a serialized account in the "Missouri Republican." Boyce s narrative addresses his service from his involvement as a member of the Missouri Volunteer Militia in the Camp Jackson massacre on May 10, 1861, until the regiment s surrender at Fort Blakely near Mobile, Alabama, in April 1865. Winter includes introductions for each chapter, extensive footnotes, and other writings by Boyce."

St Louis has a history of planning. The plans that have been made over the years by public, nonprofit, and civic agencies have given the St Louis metropolitan area its shape and direction. Part of the ""St Louis Metromorphosis Book"" series, this work reviews the history of planning and provides insight into the planning successes and challenges.

A work of historical fiction, Nobody's Boy is loosely based on the real-life story of a slave named George Kirkland. George's owner, Hugh Garland, the lawyer for Mrs. Emerson in the Dred Scott case, brought him to St. Louis at the age of about five. George's mother, Elizabeth Keckly (dressmaker for and confidante of Mary Todd Lincoln), bought his freedom and, in about 1860, sent him to college in Ohio. Like the main character in Nobody's Boy, the light-skinned George ultimately joined a Missouri regiment in the Civil War, enlisting as a white man on the Union side. Not long after, he died in the battle of Wilson's Creek. The early 1850s was an important time in Missouri--a turning point in the buildup to the war and the beginning of the historic Dred Scott case. The story of George's short life is an intimate look at race and life in Missouri at this time, seen through the eyes of an African American boy who grew up on the color line.