The Southwestern Historical Quarterly, Volume 101, July 1997 - April, 1998 Page: 117
the story of his captivity and life among the Indians to J. J. Methvin, a Methodist
missionary working among the Kiowas and Comanches. Methvin published
Andele's story in 1899.
The University of New Mexico Press has reprinted this valuable narrative with
an introduction by James F. Brooks. The well-researched introduction provides
documentation and pertinent background information to support the colorful
narrative. Andele's story presents detailed descriptions of many aspects of Kiowa
culture, including his induction into their warrior society and subsequent partic-
ipation in raids against the "hated Texans" (p. 65).
Readers of Texas history are familiar with the captivity narratives of Sarah
Horn, Herman Lehmann, and Cynthia Ann Parker, but stories of captives from
New Mexico and northern Mexico are not so well known. Andele's story serves
as an important reminder of the vast range covered by the Southern Plains
Indians before they were confined to reservations under the terms of President
Ulysses S. Grant's Peace Policy. This book provides a first-hand account of the
twilight years of freedom for the Kiowas and the difficulties they faced in adjust-
ing to reservation life. The book makes a substantial contribution to the history
of a tribe that played a significant role on the Texas frontier.
University of North Texas CAROL A. LIBSCOMB
Wild West Shows and Images of American Indians, x883-1933. By L. G. Moses.
(Albuquerque: University of New Mexico Press, 1996). Pp. xviii+364.
Illustrations, preface, acknowledgments, introduction, epilogue, abbrevia-
tions, notes, bibliography, index. ISBN o-8263-1685-9. $39.95, cloth.)
In recent years, scholars have turned fresh eyes on Buffalo Bill Cody's Wild
West, finding in it the codification of a national myth centered on the violent
conquest of native people, the reworking of that myth to address American over-
seas imperialism, the creation of the nation's first modern celebrity, and the
iconic foundation for Hollywood's most durable genre. In performing these cul-
tural labors, Wild West shows relied on familiar images of Indians, images most
effectively brought to life by native people themselves. L. G. Moses's book offers
an impressively detailed look at both the Indian performers and the contests
over the images Indian people would present to an eager public.
Reformers, suggests Moses, recoiled at the thought of Indians playing out
images of native savagery, preferring to see domesticity, education, and agricul-
tural industry in the arena spotlight. Acting out the "old ways" allowed Indians to
maintain their traditions and to make identities opposed to progress and assimi-
lation. Indians and proprietors created images as well, but they built their argu-
ments on native experience outside the arena. Indians, they insisted, were full
participants in modern society, gainfully employed, well traveled, and versed in
every aspect of the non-Indian world. They were in fact compelling examples of
assimilation. These dueling iconographies clashed not only around the Wild
West but, as Moses skillfully shows, at schools, fairs, and expositions as well.
When he turns to Indian experience, however, Moses's sources change, and he
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Texas State Historical Association. The Southwestern Historical Quarterly, Volume 101, July 1997 - April, 1998, periodical, 1998; Austin, Texas. (texashistory.unt.edu/ark:/67531/metapth117155/m1/145/ocr/: accessed August 17, 2017), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Texas State Historical Association.