555 554 OHQ vol. 119, no. 4 Reviews The book’s few minor typos do not detract from Utley’s work, notwithstanding the probable confusion of Dull Knife and Little Wolf in Chapter 3. For those generals who served in the pre–Civil War army, Utley highlights their leadership experience well. It is with those who did not serve before the Civil War — Howard, Miles, and Terry — that Utley slightly misses the mark. His chapter on Terry, for example, leaves readers wanting to know more about Terry’s background as a lawyer and any leadership experience acquired as a city clerk and clerk of the Connecticut State Superior Court. To this reader, Utley’s most masterful accomplishment lies in the book’s first chapter on the post–Civil War army. At the height of his trademark crisp narrative form, Utley takes just twelve pages to walk readers through thirty-five years of U.S. Army organizational evolution, from its top brass to its core of largely immigrant and inexperienced enlisted men. This is no easy feat, and while it expertly ushers in the following chapters, it also stands alone as a tool for educators seeking for students a non-tranquilizing summary of this chapter of nineteenth century American history. In these pages in 2005, historian Art Gomez reviewed Utley’s memoir and described it as a “remarkable contribution to the compendium of western scholarship.” The same can be said for this book. As Utley approaches his ninetieth year, it is clear that he remains at the top of his game. Gregory Shine Portland, Oregon INDIGENOUS CITIES: URBAN INDIAN FICTION AND THE HISTORIES OF RELOCATION by Laura M. Furlan University of Nebraska Press, Lincoln Nebraska, 2017. 338 pages. $60.00 cloth. Laura M. Furlan’s Indigenous Cities uses contemporary fiction and a wide range of visual arts to reorient how we think about regional and national histories, particularly as those histories relate to narrated conceptions of Indigenous resilience and urban spaces in the United States. Furlan traces how we have been culturally conditioned by stories that depict Indigenous men and women leaving reservations only to experience poverty, disorientation, and social demise. In this pattern, we expect Indigenous characters to eventually leave cities and return to reservations in order to renew their commitments to tribal identities, a sense of political separatism, and personal healing. Furlan challenges this worn script through a historically and geographically minded study of novels by Indigenous writers such as Janet Campbell Hale, Sherman Alexie, Louise Erdrich, and Susan Power. Characters in these novels live off reservations — in cities such as San Francisco, Seattle, Minneapolis, and Chicago — and although many keep ties to reservations, they ultimately experience variations of home in Western and Midwestern cities. Through a nimble blending of history and fiction, Furlan shows how contemporary Indigenous identities are shaped by urban spaces and policies that support frameworks for systemic marginalization and injustice, even as these same places generate cosmopolitan mobility and a sense of transnationalism that fosters meaningful paths to renewal through activism and the re-creation of tribal Identities. Furlan’s book demythologizes common assumptions about Indigenous identity in regard to static assumptions about rural and urban spaces through a historically grounded methodology that draws from theories in diasporic studies, cosmopolitanism, and transnationalism . Attention to movement and permeable borders then sets the stage for engagements with dynamic Indigenous characters who hold mirrors up to reality, echoing back Furlan’s claim that “there is not one way to be an urban Indian” (p. 7). Indeed, it is the stylistic diversity of these novels, the complexity of social situations they offer, and the material witness of the cities themselves that makes Furlan’s book a particularly compelling study of indigeneity, relocation histories, and urbanization. Readers of Oregon Historical Quarterly will be particularly interested in chapters on Janet Campbell Hale’s The Jailing of Cecelia Capture 557 556 OHQ vol. 119, no. 4 (1985), set in San Francisco, as well as Sherman Alexie’s Seattle-based works: Indian Killer (1995), “What You Pawn I Will Redeem” (2004), and Flight (2007). Furlan reads Hale’s novel as an account of urban redemption, where the Bay Area becomes a place where...