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Cyrus Thomas opens The Problem of the Ohio Mounds by directly challenging the popular notion that the earthworks of Ohio were built by a vanished, superior race. Instead, he proposes that the mounds are the work of several Indian tribes, with the Cherokees as the primary builders of certain typical works. The argument unfolds through a structured presentation of historical evidence, comparisons of material culture, and an analysis of burial customs, all aimed at tracing the Cherokees back to Ohio. Thomas relies on archaeological findings, such as clay beds and artifacts, to support his claims, while carefully limiting his discussion to the evidence at hand.
Thomas begins by reviewing historical accounts that suggest continuity between mound-building cultures and historic Indian tribes. He notes that early European observers recorded Indians using mounds for ceremonies and burials, contradicting the idea of a separate, extinct race. The author emphasizes that the burden of proof lies with those who claim a lost civilization, as the simpler explanation—that Indians built the mounds—requires fewer assumptions. He cites specific examples, such as the use of fire in burial rites and the placement of artifacts, to argue that these practices align with known Indian customs. The chapter sets the stage for a detailed comparison of arts and customs.
Thomas draws direct parallels between mound-builder artifacts and those of historic tribes. He points to similarities in pottery styles, stone implements, and ornaments, noting that many objects found in mounds—such as shell masks, engraved shells, and copper hawkbells—are identical to items used by Cherokees and other tribes. Burial practices also align: the removal of flesh before burial, interment beneath dwellings, and the sitting or squatting posture of skeletons are all documented among Indians. The author highlights the discovery of clay beds in mounds, which he interprets as evidence of ceremonial fires, a practice common among Cherokees. These comparisons form the core of his argument for cultural continuity.
A distinct type of stone grave, found in certain Ohio mounds, is attributed by Thomas to the Shawnees. He uses this to demonstrate that different tribes built different types of mounds, reinforcing his claim that no single lost civilization was responsible. The stone graves are characterized by their construction and the presence of specific artifacts, which match Shawnee burial traditions. Thomas argues that this evidence strengthens the case for Indian authorship, as it shows a diversity of practices among tribes. He also suggests that the Shawnees, like the Cherokees, migrated from the Ohio region, leaving behind these distinctive graves as markers of their presence.
Thomas presents evidence that the Cherokees were actively building mounds in their historic homeland of East Tennessee and western North Carolina. He cites maps by Timberlake and Bartram, which show mound groups corresponding to Cherokee towns, and notes that excavations yielded artifacts typical of Cherokee use. The author then traces the Cherokees back to Ohio through mound testimony and tradition, linking them to the Tallegwi, a people mentioned in Algonquian legends. He argues that the Cherokees migrated southward, leaving behind the typical Ohio works. The chapter concludes with a detailed description of a mound at Chota, where a series of clay beds and charred human bones suggest a continuity of occupation by a single tribe.
Thomas builds his case methodically, using archaeological evidence and historical records to support his thesis. Readers should pay close attention to the recurring motifs of clay beds, burial postures, and artifact types, as these form the backbone of his argument. The work is a careful exercise in comparative ethnology, grounded in specific observations rather than speculation.
I found myself thinking about The Problem of the Ohio Mounds the other day, not for its archaeology, but for its quiet insistence that what we assume buried and finished often holds a living presence. That same feeling surfaced when I later opened The Vice Bondage of a Great City; or, the Wickedest City in the World — Inside the Classic—a different kind of excavation, uncovering layers beneath a surface that seemed so certain of itself. Both left me staring out the window.
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