This overview is the first to examine trading in the last quarter of the twentieth century, when changes in both Navajo and white cultures led to the investigation of trading practices by the Federal Trade Commission, resulting in the demise of most traditional trading posts.

Will Evans's writings should find a special niche in the small but significant body of literature from and about traders to the Navajos. Evans was the proprietor of the Shiprock Trading Company. Probably more than most of his fellow traders, he had a strong interest in Navajo culture. The effort he made to record and share what he learned certainly was unusual. He published in the Farmington and New Mexico newspapers and other periodicals, compiling many of his pieces into a book manuscript. His subjects were Navajos he knew and traded with, their stories of historic events such as the Long Walk, and descriptions of their culture as he, an outsider without academic training, understood it. Evans's writings were colored by his fondness for, uncommon access to, and friendships with Navajos, and by who he was: a trader, folk artist, and Mormon. He accurately portrayed the operations of a trading post and knew both the material and artistic value of Navajo crafts. His art was mainly inspired by Navajo sandpainting. He appropriated and, no doubt, sometimes misappropriated that sacred art to paint surfaces and objects of all kinds. As a Mormon, he had particular views of who the Navajos were and what they believed and was representative of a large class of often-overlooked traders. Much of the Navajo trade in the Four Corners region and farther west was operated by Mormons. They had a significant historical role as intermediaries, or brokers, between Native and European American peoples in this part of the West. Well connected at the center of that world, Evans was a good spokesperson.

Gladwell "Toney" Richardson came from a long line of Indian traders and published nearly three hundred western novels under pseudonyms like "Maurice Kildare." His forty years of managing trading posts on the Navajo Reservation are now recalled in this colorful memoir.

For travelers passing through northern Navajo country, the desert landscape appears desolate. The few remaining Navajo trading posts, once famous for their bustling commerce, seem unimpressive. Yet a closer look at the economic and creative activity in this region, which straddles northeastern Arizona, northwestern New Mexico, and southeastern Utah, belies a far more interesting picture. In Traders, Agents, and Weavers, Robert S. McPherson unveils the fascinating—and at times surprising—history of the merging of cultures and artistic innovation across this land. McPherson, the author of numerous books on Navajo and southwestern history, narrates here the story of Navajo economic and cultural development through the testimonies of traders, government agents, tribal leaders, and accomplished weavers. For the first half of the twentieth century, trading posts dominated the Navajo economy in northwestern New Mexico. McPherson highlights the Two Grey Hills post and its sister posts Toadlena and Newcomb, which encouraged excellence among weavers and sold high-quality rugs and blankets. Parallel to the success of the trading industry was the establishment of the Northern Navajo or Shiprock Agency and Boarding School. The author explains the pivotal influence on the area of the agency’s stern and controversial founder, William T. Shelton, known by Navajos as Tall Leader. Through cooperation with government agents, American settlers, and traders, Navajo weavers not only succeeded financially but also developed their own artistic crafts. Shunning the use of brightly dyed yarn and opting for the natural colors of sheep’s wool, these weavers, primarily women, developed an intricate style that has few rivals. Eventually, economic shifts, including oil drilling and livestock reduction, eroded the traditional Navajo way of life and led to the collapse of the trading post system. Nonetheless, as McPherson emphasizes, Navajo weavers have maintained their distinctive style and method of production to this day.

Photos. and text give picture of Navaho life in the period between the two World Wars.

The Navajo rugs and textiles that people admire and buy today are the result of many historical influences, particularly the interaction between Navajo weavers and the traders who guided their production and controlled their sale. John Lorenzo Hubbell and other late-nineteenth-century traders were convinced they knew which patterns and colors would appeal to Anglo-American buyers, and so they heavily encouraged those designs. In Patterns of Exchange, Teresa J. Wilkins traces how the relationships between generations of Navajo weavers and traders affected Navajo weaving. The Navajos valued their relationships with Hubbell and others who operated trading posts on their reservation. As a result, they did not always see themselves as exploited victims of a capitalist system. Rather, because of Navajo cultural traditions of gift-giving and helping others, the artists slowly adapted some of the patterns and colors the traders requested into their own designs. By the 1890s, Hubbell and others commissioned paintings depicting particular weaving styles and encouraged Navajo weavers to copy them, reinforcing public perceptions of traditional Navajo weaving. Even the Navajos came to revere certain designs as “the weaving of the ancestors.” Enhanced by numerous illustrations, including eight color plates, this volume traces the intricate play of cultural and economic pressures and personal relationships between artists and traders that guided Navajo weavers to produce textiles that are today emblems of the Native American Southwest. Winner - Multi-cultural Subject, New Mexico Book Awards

This lively memoir describes trading post life from 1938 to 1950 and the many changes experienced by Navajos and all Americans during and after World War II.