Introduction | 1
1 The Indifferent Children of the Earth: Lead,
Enclosure,
and the Nocturnal Occupations of the Mineral Undead | 15
2 “Dressed in a strange fantasy”: The Dialectics of Seeing
and the Secret Passages of Desire | 54
3 Constantly at Their Weaving Work: Historiography and the
Annihilation of the Body | 89
4 Things Sweet to Taste: Corn and the Thin Gruel of Racial
Capitalism | 120
5 They Prove in Digestion Sour: Medicine, an Obstinacy of
Organs, and the Appointments of the Body | 173
Conclusion: The Afterlives of the Black Hawk War | 211
Acknowledgments | 215
Notes | 219
Bibliography | 233
Index | 239
Adam John Waterman is an independent scholar and writer. He lives in Beirut.
. . . The Corpse in the Kitchen belongs on the bookshelf of all
those interested in the history of the Indian Wars, settler
colonialism, the formation of the United States, and Indigenous
sovereignty.-- "H-Net Reviews"
As Waterman reminds us, the aftermath of war often eludes us. But
The Corpse in the Kitchen poignantly turns to the ramifications of
these events, from the displacement and dislocation of Native
nations to the dismemberment and desecration of Black Hawk's body
shortly after his death and burial in 1838 . . .Waterman's
methodical and meditative approach invites the reader to look more
closely at how such events shaped and were shaped by the land, what
is on it, and what is in it.-- "American Literary History"
Drawing connections between geology, agriculture, medicine, food,
sex, print culture, and war, The Corpse in the Kitchen provides a
materialist analysis of North American settler colonialism.
Waterman moves between the concrete and psychic dimensions of
settler colonialism, providing methodological breakthroughs for the
field.---Manu Karuka, author of Empire's Tracks: Indigenous
Nations, Chinese Workers, and the Transcontinental Railroad
The Black Hawk War has lent itself well to imperial forgetting. But
The Corpse in the Kitchen examines how racism shaped Illinois
before, during, and after the war.---David Roediger, Boston Review
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