asmore at home in thehalls ofCongress than in the wilderness. Zahniser's great effective ness,Harvey intimates, was his ability to travel easily between theseworlds and to frame the importance ofwilderness preservation foran audience eager todo the same.Tragically, How ard Zahniser died justmonths before Lyndon Johnson signed the Wilderness Act into law. Mark Harvey's Wilderness Forever is an admiring biography, built upon prodigious archival and oral history research.Like the man it chronicles,Wilderness Forever is quiet and humble but also forcefuland convincing. Paul Sutter University ofGeorgia, Athens PEOPLES OF THE PLATEAU: THE INDIAN PHOTOGRAPHS OF LEE MOORHOUSE, 1898-1915 bySteven Grafe University ofOklahoma Press, Norman, 2006. Photographs, maps, notes, bibliography, index. 234 pages. $39-95 cloth. $29.95 paper. Many readers of this journal are familiarwith theColumbia River Plateau and itsIndian oc cupants. But inother parts of thenation, that region and itspeople are virtually unknown. Happily, theUniversity of Oklahoma Press' decision topublish thisvolume's strikingpho tographswill do much to educate a broader readership about the Plateau's rich history and gorgeous landscapes. Editor Steve Grafe, trained as an anthropologist and currently curator of Native American Collections at Oklahoma City's National Cowboy & West ernHeritage Museum, provides an excellent introduction to thebook and helpful captions to its over one hundred images,most taken by amateur photographer Lee Moorhouse between 1898 and 1915. Moorhouse moved to thePacificNorthwest as a child in 1861,settling with his familynear Walla Walla, Washington. His various adult occupations spanned the entire spectrum of frontier life ? mining prospector, railroad survey crew member, horse breaker, cowhand, merchant, and Indian agent. He also received a commission as a major from the Oregon StateMilitia during the 1878Bannock-Pauite War, a titlehemaintained for theduration of his life. By the 1880s Moorhouse had become a partner in a Pendleton, Oregon, general store and served as mayor of the town.An active participant in Republican Party affairs, he eventually snared an appointment as agent at the Umatilla Reservation and held thatposition for two years. During his tenure,he oversaw land allotment and the sale of surplus lands. Moorhouse apparently supported the forced acculturation policy of his time, but he also worked toprotect Indians' interests by seeking redress from theOregon Railway and Naviga tionCompany when their trains occasionally struck and killed Indians' livestock or when sparks from locomotives' smokestacks caught fireand destroyed theirbuildings. More germane to thebook, he appreciated the beauty and richness of Plateau Indian cultures. For about twenty years, Moorhouse tookhundreds ofphotos of Walla Walla, Uma tilla,Cayuse, Nez Perce,Wishxam, and Crow people inan effortto capture, forposterity,at least a glimpse of their lives.The selection of photographs thatGrafe includes begins with portraits Moorhouse took in his Pendleton backyard of Cayuse men and women wear ing costumes and holding props from the photographer's extensive collection of Indian items. Shooting his subjects against a plain background, butwith treesand a streetclearly visible, Moorhouse conveys a sense of these people as objects, although objectswith names and quite attractivefaces.Happily, he ventured out ofhis studio tophotograph others in their own homes, usually on theUmatilla Reserva tion, and with theirown accoutrements. The primacy of theColumbia River Plateau peoples as equestrians, exporters of culture, and im porters of trade goods isbrilliantly conveyed Reviews 467 in these images. Especially impressive are the locally produced, finely beaded horse orna ments, including head masks, head stalls,and collars. But the Indian subjects also display Navajo saddle blankets (some overlain with mountain lion skins), shells, and other trade goods brought in from thePacific Ocean and the Southwest. They also display Pendleton Woolen Mill blankets. Several ofMoorhouse's photographs ofUmatilla people wrapped in Pendleton blankets, in fact, appeared in the company's advertisements. Moorhouse's motivations for taking these photos blended the commercial with the his toric.He made money from their sale, but he also wanted todocument cultures thathe, like somany of his generation, believed were dis appearing. Still, there isno sense of doom or despair in these images.The men and women look secure, proud, and healthy.Moreover, he shows them interactingand surviving contact with thedominant societyby,forexample, par ticipating in thePendleton Round-Up parades and rodeos, celebrating the Fourth of July by engaging in activities that annoyedWashing...