The profound economic and social changes in the post-Civil War United States created new challenges to a nation founded on Enlightenment and transcendental values, religious certainties, and rural traditions. Newly-freed African Americans, emboldened women, intellectuals and artists,and a polyglot tide of immigrants found themselves in a restless new world of railroads, factories, and skyscrapers where old assumptions were being challenged and new values had yet to be created. In An American Cakewalk: Ten Syncopators of the Modern World, Zeese Papanikolas tells the lively and entertaining story of a diverse group of figures in the arts and sciences who inhabited this new America. Just as ragtime composers subverted musical expectations by combining European march timing with African syncopation, so this book's protagonists-who range from Emily Dickinson to Thorstein Veblen and from Henry and William James to Charles Mingus-interrogated the modern American world through their own "syncopations" of cultural givens. The old antebellum slave dance, the cakewalk, with its parody of the manners and pretensions of the white folks in the Big House, provides a template of how the tricksters, shamans, poets, philosophers, ragtime pianists, and jazz musicians who inhabit this book used the arts of parody, satire, and disguise to subvert American cultural norms and to create new works of astonishing beauty and intellectual vigor.

In "American Silence," a complement to his previous study "Trickster in the Land of Dreams," Zeese Papanikolas investigates a number of significant American cultural artifacts and the lives of their makers. For Papanikolas, both the private failures and public successes of Clarence King, Henry Adams, Gertrude Stein, Ernest Hemingway, Raymond Chandler, and Hank Williams resonate with silences. These silences--absences and omissions--put them in opposition to the American mythology of success and express the essential solitude Alexis de Tocqueville found at the heart of the American soul. The painters George Caleb Bingham and Jackson Pollock and the New Orleans photographer E. J. Bellocq extend the theme of erotic loss and the redemptive possibilities of art beyond it into the realm of the visual. On a deeper level, the lives and works of these writers, thinkers, artists, and public figures connect them to more disturbing questions of American crimes of race and despoliation. Their silences and reticences contain a lingering pathos rooted in a consciousness of utopian possibility just missed and to an unspoiled nature almost within living memory.

Zeese Papanikolas forges seemingly disparate events and movements in western history--including some of its strangest and most exotic strains--into a coherent whole by examining them against the laughter and wisdom of Shoshonean trickster tales. Seen against these tales, the West becomes both a canvas for the projection of utopian dreams and the site of their shattered remains. Papanikolas undertakes a dramatic retelling of Shoshoni creation stories and examines, along with other topics, the mythologies embedded in the "Dream Mine" of Mormon folklore, the heroic images of cowboys and Wobblies, the MX missile, the dark side of Oz, and the Las Vegas of tourists, dam builders, and gamblers. Among those whose visions are played out against the mirage-haunted background of the West are Cabeza de Vaca, Winston Churchill, Big Bill Haywood, and Native American wise man, Antelope Jake. It is a testament to the power of Papanikolas's conception that he can weave the themes and topics of each chapter into a book that is both eloquent and intellectually stimulating.

Louis Tikas was a union organizer killed in the battle between striking coal miners and state militia in Ludlow, Colorado, in 1914. In "Buried Unsung" he stands for a whole generation of immigrant workers who, in the years before World War I, found themselves caught between the realities of industrial America and their aspirations for a better life.