

Seattle’s landscape functions as a curated public history exhibit authored by power. Street and neighborhood names such as Denny, Yesler, Pioneer Square, and Capitol Hill commemorate settlers, developers, and aesthetic identity while obscuring the displacement of Coast Salish peoples and the exploitation of immigrant labor. Yet Washington’s map also preserves Indigenous language in place names like Issaquah, Wenatchee, Cle Elum, and Mukilteo, revealing selective remembrance. Native words remain while Native sovereignty does not. At the same time, the city’s racial geography, shaped by redlining, restrictive covenants, and segregation, records another layer of historical ownership. Drawing on archives, oral histories, and public history projects, this essay contends that Seattle’s map tells two intertwined stories: a civic mythology of pioneers and progress, and a counter-history of communities whose experiences were structured into the landscape but excluded from its official narrative.

This essay explores how Seattle’s museums reflect the broader evolution of public history in the United States. It reflects on the ways museums once sanitized or ignored labor struggles, Indigenous voices, and racial inequities, while highlighting recent efforts toward shared authority and relevance. Seattle’s Museum of History and Industry (MOHAI) and the Burke Museum serve as case studies of this shift. The essay argues that museums must embrace discomfort, transparency, and contested histories to remain meaningful, especially in a climate where cultural institutions are once again under political attack.

This paper examines how public lands in the Pacific Northwest have been shaped by selective historical narratives, obscuring histories of presence, labor, and resistance. Drawing on multiple case studies, it argues that conservation has often relied on erasure as much as preservation, and offers a more inclusive interpretation of public lands where memory, power, and place intersect.
This film is a striking example of the older, problematic interpretation of settler colonialism. This documentary, produced by the National Park Service, reflects a mindset rooted in Manifest Destiny, white superiority, and the erasure of Native American voices. The film romanticizes the settlers and describes the Cayuse people in dismissive and dehumanizing terms.
In contrast, this film represents a major shift in how public history is told at national historic sites. This more recent documentary offers a critical reassessment of the Whitmans’ actions and legacy. It acknowledges the cultural arrogance of the missionaries, who believed Native people were inferior and in need of salvation,
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